RENT
by Swamp Thing
Summary: RENT done as a pretentious art film. Contains all the songs and dialouge from the play, but the visual interpretaion and most of the additional dialouge is my own. Also incorporates lines of dialouge from the films Harold and Maude and Do The Right Thing


RENT

A screenplay by Swamp Thing

Based upon the rock opera by Jonathan Larson

We see burnt, scratched old film stock running through the projector. An amateur version of the standard movie countdown (10…9…8…7…6…5…4…3…2) is shown. It seems to have been created using index cards or something very similar. The film itself continues to pop and fizzle. It seems that whoever has made this movie has done so using discarded bits of film that he found in the dumpster. A title card appears:

A MARK COHEN FILM

And a second one:

AT HOME WITH ROGER

EXT. AN OLD, RUNDOWN MUSIC FACTORY- NIGHT (MARK'S FILM)

The scratched footage reveals the remains of what was once, several hundred lifetimes ago, probably a prosperous place of industry. Now, it is a dump. Quick cut to:

INT. THE LOFT- NIGT (MARK'S FILM)

As Mark's voice-over describes various items, we see them in his film: an overly stuffed electrical socket, an illegal wood-burning stove and walls onto which there have been unevenly scattered posters and flyers of a band called The Well Hungarians. On each of these posters and flyers is the smiling face of ROGER DAVIS.

MARK (VO)

We begin on Christmas Eve with me, Mark, and my roommate, Roger. We live in an industrial loft on the corner of 11th street and Avenue B, the top floor of what was once a music publishing factory. Old rock 'n' roll posters hang on the walls. They have Roger's picture advertising gigs at CBGB's and the Pyramid Club. We have an illegal wood burning stove; its exhaust pipe crawls up to a skylight. All of our electrical appliances are plugged into one thick extension cord which snakes its way out a window. Outside, a small tent city has sprung up in the lot next to our building. Inside, we are freezing because we have no heat.

INT. THE LOFT- NIGHT (REALITY)

For the first time we see our filmmaker, MARK COHEN. He is everything you expect from a young New York City artist. Square glasses, outlandish clothing, etc. He is holding an old camera. Off in the corner is Roger Davis, whom we recognize form the Well Hungarian posters that decorate the apartment, but only just. He is thinner now, has let his beard grow out some, and from the looks of things, he has not flashed his rock star smile in some time. He begins tuning up the guitar that sits in his lap. Mark trains the camera on himself and turns it on.

MARK

Smile!

INT. THE LOFT- NIGHT (MARK'S FILM)

We see that Mark is filming footage of himself, video diary style.

MARK

December 24. 9 PM. Eastern Standard Time. From here on in, I shoot without a script. See if anything comes of it. Instead of my old shit.

The camera moves within Mark's hands (hand held shot) to where Roger is sitting, completely ignoring him.

MARK (VO)

First shot: Roger. Tuning the Fender guitar, he hasn't played in a year.

ROGER

(pissed, to himself) This won't tune!

MARK (VO)

So we hear!

Although Roger was, in fact, talking to himself, Mark sees this as an opportunity to continue documenting him. The camera moves closer to where Roger is seated.

MARK (VO)

He's just coming back from half a year of withdrawal…

Furious, Roger turns around to face the camera.

ROGER

Are you talking to me?

MARK (VO)

Not at all!

The camera begins to back up, slightly.

MARK (VO)

Are you ready? Hold the focus! Steady!

As Mark sings the next line, the camera once again approaches Roger.

MARK (VO)

(tentatively) Tell the folks at home what you're doing, Roger.

An expression of strange peace comes onto Roger's face. He decides to play along. If nothing else, a document of his life can exist.

ROGER

I'm writing one great song-

In an instant, the camera cuts off with the blaring sound of a phone ringing. We return to:

INT. THE LOFT- NIGHT (REALITY)

Mark is holding the camera, standing near Roger. The phone is blaring.

MARK

The phone rings!

ROGER

(whispering to himself) Saved.

MARK

We screen. Zoom in on the answering machine.

ANSWERING MACHINE

SPPPPEEEAAAAK.

INT. COHEN FAMILY HOME- THAT MOMENT

A traditional-looking holiday setup is in place. The Cohen family is gathered around a small Hanukah Bush. A fire is going in the fire place. MARK'S MOTHER is on the phone. A group of children are on the floor, moving giddily. CINDY COHEN, Mark's sister, sits there, bored. MARK'S FATHER nurses a beer.

MARK'S MOTHER

That was a very loud beep  
I don't even know if this is working  
Mark -- Mark -- are you there  
Are you screening your calls --  
It's mom  
We wanted to call and say we love you  
And we'll miss you tomorrow  
Cindy and the kids are here -- send their love  
Oh, I hope you like the hot plate  
Just don't leave it on, dear  
When you leave the house  
Oh, and Mark  
We're sorry to hear that Maureen dumped you  
I say c'est la vie  
So let her be a lesbian...

INT. THE LOFT

Her message ends in the recorded, mechanical voice of an answering machine recording.

MARK'S MOTHER (VO)

There are other fishes in the sea. Love Mom!

Sighing, Mark picks up the camera and again trains it on Roger. We return to the scratchy footage of Mark's film. Again, Roger is sitting there, tuning the guitar. It's take two.

MARK (VO)

Tell the folks at home what you're doing, Roger.

ROGER

I'm writing one great song-

Again, an interruption from the phone. We return to reality with Mark dangling the camera at his side now and Roger looking passively amused with the whole thing.

MARK

The phone rings!

ROGER

Yes!

MARK

We screen…

ANSWERING MACHINE

SPPPEEAAKK.

KINDLY VOICE (VO)

Chestnuts roasting…

Excitedly, Mark picks up.

MARK

Collins!

COLLINS (VO)

I'm downstairs!

MARK

Hey!

COLLINS (VO)

Roger picked up the phone?

MARK

No, it's me!

COLLINS

Throw down the key.

Mark cups his hand to the phone and turns to Roger, who looks rather excited himself.

MARK

A wild night is now preordained.

EXT. Phone Booth

We see TOM COLLINS a man who looks like an outsider in every sense. In the distance, the small figure of another man furiously street drumming can just barely be made out. A group of STREET THUGS is approaching the booth.

COLLINS

I may be detained.

He rapidly hangs up the phone and makes a move to defend himself as we cut back to:

INT. LOFT

Confused, Mark listens to the dial tone for a second before hanging up and turning to an equally confused Roger.

MARK

What did he mean?

Again, the phone rings. Mark picks up.

MARK

What did you mean, detained?

SMUG VOICE (VO)

Ho ho ho!

Mark cups his hand over the phone and whispers to Roger.

MARK

Benny.

ROGER

Shit.

BENNY (VO)

Dudes, I'm on my way.

MARK

Great!

MARK AND ROGER

(whispered) Fuck.

BENNY(VO)

I need the rent.

MARK

What rent?

BENNY (VO)

This past year's rent, which I let slide.

Overhearing some of this, Roger gets up and storms over to the phone.

MARK

Let slide? You said we were golden!

Roger grabs the phone.

ROGER

When you bought the building!

Mark takes the phone back.

MARK

When we were roommates.

ROGER

(Yelling into the phone) Remember -- you lived here!?

BENNY (VO)

How could I forget?  
You, me, Collins and Maureen  
How is the drama queen?

MARK

She's performing tonight

BENNY (VO)

I know. Still her production manager?

MARK

Two days ago I was bumped.

BENNY (VO)

You still dating her?

MARK

Last month I was dumped.

ROGER

She's in love.

BENNY (VO)

She's got a new man?

MARK

Well…no.

BENNY

What's his name?

MARK AND ROGER  
(they've told people this a million times) Joanne.

INT. BENNY'S CAR- THAT MOMENT

We see BENNY, a very rich, well-dressed man driving a very fancy car, talking into a cell phone. His car interior is littered with a solitary, clearly intentional, empty Starbucks cup.

BENNY

Rent, my amigos, is due. Or I will have to evict you.  
Be there in a few.

He hangs up.

INT. THE LOFT

Dejected, hangs up.

ROGER

(Sarcastically) So how's Collins doing?

MARK

I don't know. (he buries his head in his hands) We are so FUCKED!

Trying his best to ignore reality, Roger starts playing Musetta's Waltz on the guitar. With a spark, everything goes black.

MARK

And now… the power blows.

The hard-hitting opening strains of "Rent" begin. During this sequence, the opening titles are shown unobtrusively. They appear in the scenery, mostly as graffiti on the walls.

EXT. MAKESHIFT TERRACE- NIGHT

Mark is standing on what passes for a balcony. It is, for all practical purposes, just a fire escape, and yet Mark and Roger have placed some potted plants out there as if to give themselves a sense of home. The plants are now withered and dying. Mark films down toward the tent city.

EXT. THE STREET- NIGHT (MARK'S FILM)

The song begins with bird's eye view grainy footage of the homeless, gathered in a circle, warming themselves around a trash can fire.

MARK (VO)

How do you document real life

When real life is getting more

Like fiction each day?

Headlines -- bread-lines

Blow my mind

And now this deadline

"Eviction -- or pay"

Rent!

EXT. TERRACE

Roger comes out, picking out the song on his unplugged electric guitar.

ROGER

How do you write a song

When the chords sound wrong

Though they once sounded right and rare?

When the notes are sour

Where is the power

You once had to ignite the air?

MARK

And we're hungry and frozen!

ROGER

Some life that we've chosen!

BOTH

How we gonna pay?

How we gonna pay?

How we gonna pay?

LAST YEAR'S RENT?

Mark has an idea.

MARK

We'll light candles!

ROGER

(gesturing to the streets below) This is BULLSHIT, man. The homeless can keep warm and we're freezin' our fuckin' asses off! How do you start a fire when there's nothin' to burn and it feels like something's stuck in your flue?

He storms inside. Mark follows.

INT. The Loft

Our heroes come inside. Roger is pissed off. Mark is just trying to help out. Business as usual.

MARK

How can you generate heat when you can't feel your feet and they're turning blue?

In a fit, Roger tears down a wall length poster of his smiling face, and throws it in the trash can along with a lit match. It goes up instantly.

ROGER

Ya light up a mean blaze with posters!

That instant, Mark takes an old script of his labeled "Tick… Tick… BOOM!" and throws it into the blaze!

MARK

And screenplays!

BOTH

How we gonna pay?

How we gonna pay?

How we gonna pay?

LAST YEAR'S RENT?

EXT. PAY PHONE- Night

Same as before. The crooks and Collins are long gone. In the distance, the figure of a street drummer continues to pound his heart out. On the phone now is JOANNE, a 30-year-old, no nonsense lawyer. She is most frustrated at this moment, as she is talking on the phone with Maureen, whose equipment has broken.

JOANNE

Don't screen, Maureen

It's me -- Joanne

Your substitute production manager

Hey hey hey! (Did you eat?)

Don't change the subject Maureen

But darling -- you haven't eaten all day

You won't throw up

You won't throw up

The digital delay ---

Didn't blow up (exactly)

There may have been one teeny tiny spark

You're not calling Mark!

EXT. A FEW FEET AWAY- NIGHT

Writhing on the floor in pain, we once again see Collins. He is bruised, bleeding and missing his coat.

COLLINS

How do you stay on your feet

When on every street

It's "trick or treat?"

And tonight it's trick!

Oh, welcome back to town…

Ohhhh… I should lie down…

Everything's brown and

OHHHH

I feel sick!

INT. Loft

The boys continue their orgy of fire. Mark is just about to throw in an old group photo of himself, Roger, Benny, Collins and a woman whom we must assume to be Maureen. Suddenly, he remembers.

MARK

Where is he?

EXT. Street- Night

Collins continues to writhe in pain.

COLLINS

Gettin' dizzy!

INT. Loft

It's a mad frenzy of burning things.

ROGER AND MARk

How we gonna pay?

How we gonna pay?

How we gonna pay?

LAST YEAR'S RENT?

EXT. Starbucks-Night

Inside through the glass door we see Benny picking up a cup of coffee with one hand and talking on his phone on the other. He is singing his verse as he walks out to the parking lot and into his car.

BENNY

Alison, baby

You sound sad

I don't believe those two

After everything I've done!

Ever since our wedding, I'm dirt!

They'll see

I can help them out

In the long run.

He sets his coffee in the cup holder and shuts the door.

For the overlapping portion of the song we cut between:

INT. Benny's Car

Benny is driving with one hand, drinking his coffee with the other, all the while reciting his mantra-

BENNY

Forces are gathering…

Forces are gathering…

Forces are gathering…

And:

EXT. Street

Collins could really use some medical attention.

COLLINS

Uggghhh…. Can't think

Uggghhh… I need a drink!

INT. Loft

The boys have come to some old reviews from local newsletter-type publications, which they read mockingly before throwing into the flames.

ROGER

"The music ignites the night with passionate fire!"

EXT. Pay Phone

Joanne is frantic.

JOANNE

Maureen, I'm not a theatre person!

INT. Loft

Same as before.

MARK

"The narration crackles and pops with incendiary wit!"

EXT. Pay Phone

She is now, some how, even more frantic.

JOANNE

Could never be a theatre person!

INT. Loft

The fire now fairly steady, Mark stands at the window, watching and filming the homeless. Roger warms himself.

MARK

Zoom in as they burn the past to the ground.

EXT. Phone Booth

SFX: Dial tone.

JOANNE

Hello? Goddammit!

INT. Loft

As before.

MARK AND ROGER

And feel the heat of the future's glow!

The phone rings. Mark goes to answer.

MARK

Hello? Maureen? Your equipment won't work? Okay, all right, I'll go!

He and Roger exchange a look of disgust. During the next few lines, we cut among all the locations we've seen so far as everyone sings in unison. At one point, for a fraction of a second, we see a close-up of the street drummer who has been glimpsed in the distance.

EVERYONE

How do you leave the past behind when it keeps finding ways to get to your heart? It reaches way down deep and tears you inside out til you're torn apart! RENT! How can you connect in an age when strangers, landlords, lovers, your own blood cells betray? What binds the fabric together when the raging, shifting winds of change keep ripping away?

We end on:

INT. Benny's Car

Benny looks really motivated now. A man about to get things done.

BENNY

Draw a line in the sand and then make your stand!

INT. Loft

Both Mark and Roger are singing furiously. Roger is upset because of the cold, Mark because of the situation with Maureen.

ROGER

Use your camera to spar!

MARK

Use your guitar!

EXT. Street

For the first time, we see the tent city without the lens of Mark's aged camera. It is a depressing site. Men, women and children all filthy, huddled for warmth.

HOMELESS CHOIR

When they act tough, you call their bluff!

INT. Loft

Mark and Roger are slam dancing with energy and fury.

MARK AND ROGER

We're not gonna pay!

We're not gonna pay!

We're not gonna pay!

Last year's rent!

This year's rent!

Next year's rent!

Rent, rent, rent, rent

Rent, rent!

We're not gonna pay rent!

EXT. The Old Factory

We see the homeless gathered once again. Roger steps out onto the balcony and yells into the night.

ROGER

Cause everything is RENT!

EXT. Street- A few feet away- Night

For the first time, we get a good look at the street drummer. He is ANGEL, a uniquely beautiful young man. With maddening energy, he is pounding out a funky, catchy beat on a plastic pickle jar that he holds between his knees. A HOMELESS MAN, sitting nearby, picks up on the beat. At first he headbangs a little. When Angel gives him an encouraging smile, he starts singing a song to Angel's beat.

HOMELESS MAN

Christmas bells are ringing

Christmas bells are ringing

Christmas bells are ringing

Somewhere else

Not here.

The beat grows in intensity and complexity. One gets the sense that Angel is too talented for life as a street performer. But, from his energy and the content expression on his face, one also gets the sense that he does not mind terribly. The beat is interrupted by the painful moans of someone coming around the corner. It is Collins. He collapses near where Angel is seated. The homeless man takes one look and runs. Angel picks up a blanket and approaches this suffering stranger.

ANGEL

You okay, honey?

COLLINS

I'm afraid so.

ANGEL

(Going for his own pocket) They get any money?

COLLINS

No. Had none to get. But they purloined my coat. (Calling out into the night) Well, you missed a sleeve.

Angel wraps the blanket around him and holds him for a moment.

COLLINS

Thanks.

ANGEL

Hell, it's Christmas Eve. I'm Angel.

COLLINS

(Flirty) An Angel indeed. An Angel of the first degree. Friends call me Collins. Tom Collins. Nice tree.

ANGEL

Let's get a Band-Aid for your knee, I'll change. There's a Life Support meeting at 9:30. Yes, this body provides a comfortable home for the Acquired Immune Deficiency Syndrome.

COLLINS

As does mine.

ANGEL

Oh, we'll get along fine! Get you a coat, grab a bite, make a night, I'm flushed!

COLLINS

Ah, my friends are waiting…

ANGEL

(oozing with sexiness) You're cute when you blush. The more the merrier. And I do not take "no."

INT. Loft

Roger is, once again, tuning his guitar. Mark is headed out the door. He opens it, causing Roger to look up.

ROGER

Where're you headed?

MARK

(evading the obvious) The thing…

ROGER

Thing?

MARK

The thing on the phone.

ROGER

You're actually going to go help Maureen fix her shit? You're a bigger sucker than I thought.

MARK

Come on, I don't expect anything out of it. She's an old friend and I'm helping her out, period.

ROGER

Yeah, right.

MARK

You know, you're welcome to come with me. Get some fresh air. We could get something to eat before Maureen's show.

ROGER

Zoom in on my empty wallet.

MARK

Touché. Take your AZT.

INT. A previous residence of Roger's (Mark's Film)

Through Mark's scratchy lens, we see a younger, healthier Roger picking up a piece of paper, reading it and being overcome by an expression of horror.

MARK (VO)

Close of Roger. His girlfriend, April, left a note saying "We've got AIDS…"

INT. Bathroom (Mark's Film)

We see a pretty young girl in the tub. She is lifeless. He eyes are staring. The tub is filled with blood.

MARK (VO)

…before slitting her wrists in the bathroom.

INT. Loft

Same as before. Back to present times.

MARK

Well, all right, then. I'll be back in a little bit. Please change your mind. You need to get out of the house.

Mark exits. Roger plucks out a few chords on the guitar.

ROGER

I'm writing one great song before I…

He plucks out Musetta's Waltz and a few other notable riffs before finding an original one that he likes.

ROGER

One song

Glory

One song

Before I go

Glory

One song to leave behind

Find one song

One last refrain

Glory

From the pretty boy front man

Who wasted opportunity

One song

He had the world at his feet

Glory

In the eyes of a young girl

A young girl

Find glory

Beyond the cheap colored lights

One song

Before the sun sets

Glory -- on another empty life

Time flies -- time dies

Glory -- One blaze of glory

One blaze of glory -- glory

Find

Glory

In a song that rings true

Truth like a blazing fire

An eternal flame

Find

One song

A song about love

Glory

From the soul of a young man

A young man

Find

The one song

Before the virus takes hold

Glory

Like a sunset

One song

To redeem this empty life

Time flies

And then - no need to endure anymore

Time dies

There is a knock at the door.

ROGER

(surprised) The door?

He gets up to answer it. On the other side is MIMI, a gorgeous young Latina girl wearing nothing but an overcoat and a smile that could launch a countless number of ships. She is carrying an unlit candle. Roger opens his mouth before noticing who it is.

ROGER

What'd you forget?

MIMI

Got a light?

ROGER

I know you! You're- you're shivering.

MIMI

It's nothing they turned off my heat. And I'm just a little weak on my feet. (she extends the candle) Would you light my candle?

Roger is gawking.

MIMI

What are you staring at?

ROGER

Nothing. Your hair in the moonlight. You look familiar.

Mimi stumbles just a little.

ROGER

Can you make it?

MIMI

Just haven't eaten much today. At least the room stopped spinning. Anyway- (on Roger's gaze) What?

ROGER

Nothing. Your smile reminded me of-

MIMI

I always remind people of… who is she?

ROGER

(quickly) She died. Her name was April.

Discreetly, Mimi blows out the candle.

MIMI

It's out again! Sorry about my friend. (she extends the candle once again) Would you light my candle?

With a timid sort of confidence, he approaches, lighting the candle with his arms almost around her. They look at each other for a beat.

ROGER

Well?

MIMI

Yeah? (she suddenly looks down at her hands) Ouch!

ROGER

Oh, the wax, it's-

MIMI

-dripping. (suggestively) I like it between my-

(she starts reaching for Roger's nether regions when he grabs her hand and cuts her off)

ROGER

Fingers, I figured. Oh well. Good night.

A little surprised that a man would reject her advances, she turns to leave. When she's half way out the door, she reaches into her coat pocket and looks surprised to find it empty. She knocks on the door again.

ROGER

It blew out again?

MIMI

No. I think that I dropped my stash.

ROGER

I know I've seen you out and about when I used to go out… (just noticing) Your candle's out…

MIMI

(her mind elsewhere) I'm illin'! I had it when I walked in the door. It was pure! Is it on the floor?

ROGER

The floor?

She gets down to look for it. As she does, the coat lifts up just enough in the back to reveal that she really is wearing nothing underneath. She looks up to catch Roger staring and smiles playfully.

MIMI

They say that I have the best ass below 14th Street. Is it true?

ROGER

(laughing, trying to play it off) What?

MIMI

You're starin' again.

ROGER

Oh, no… I mean… you do have a nice… I mean… you look familiar.

MIMI

Like your dead girlfriend?

ROGER

Only when you smile, but I'm sure I've seen you somewhere else.

MIMI

Do you go to the Cat Scratch Club? That's where I work. I dance. Help me look!

Roger gets down on the ground to do so. As he does, Mimi notices a Well Hungarians flyer that, apparently, survived the fire. She quickly snatches it and hides it in her cleavage while he's not looking. Realization comes over Roger. He looks up.

ROGER

Yes! They used to tie you up.

MIMI

It's a living.

Roger looks away, continues the search.

ROGER

I didn't recognize you without the handcuffs.

MIMI

We could light the candle. Oh, won't you light the candle?

All at once, the severity of what he's doing hits Roger. He needs to do what's right. He stands up.

ROGER

Why don't you forget that stuff? You look like you're sixteen.

MIMI

I'm nineteen, and I'm old for my age. I'm just born to be bad.

ROGER

I once was born to be bad. I used to shiver like that.

MIMI

I have no heat I told you.

ROGER

I used to sweat.

MIMI

I got a cold.

ROGER

Uh-huh. I used to be a junky.

MIMI

And now and then I like to-

ROGER

Uh-huh.

MIMI

Feel good…

Looking down for a second, Roger sees a small bag of a familiar white powder. Reacting, he picks it up before realizing his mistake.

ROGER

Oh, here it is-

MIMI

What?

Roger quickly puts the bag in his pocket.

ROGER

A candy bar wrapper.

Mimi knows exactly what's going on.

MIMI

We could light the candle. Oh what'd you do with my candle?

Playing dumb, Roger strikes a match and literally lights her candle. In that pouty, flirty way, she blows it out.

ROGER

That was my last match.

MIMI

Our eyes will adjust. Thank God for the moon.

ROGER

Maybe it's not the moon at all. I hear Spike Lee's shootin' down the street.

MIMI

Bah humbug. (looking into his eyes and taking his hands) Bah humbug.

ROGER

Cold hands.

MIMI

Yours, too. Big, like my father's. (she manipulates his arm so that he twirls her) You wanna dance?

ROGER

With you?

MIMI

No. (she gets very close and whispering breathily, seductively) With my father.

Roger backs off and extends his hand.

ROGER

I'm Roger.

She gets close again and grabs his ass, reaching into his pocket and taking the bag of heroin.

MIMI

They call me… they call me… Mimi.

She slinks out the door. Roger collapses on the couch.

INT. Maureen and Joanne's Apartment

It is devoid of people, but filled with things. From the way the place is decorated, it is clear that an odder couple there could never be. One wall is covered with diplomas, certificates, plaques, etc. The other is covered with posters of B-movies and popular musicals of the 30s and 40s. The answering machine beeps. As we hear the recordings, we see various locations around the apartment and see various contractions (half clean, half trashed, real meat hidden under a vegetarian boxed dinner, etc.) and wonder how these two can ever possibly make it work.

MAUREEN(VO)

Hi. You've reached Maureen and Joanne. Leave a message and don't forget "Over the Moon." That's my performance, protesting the eviction of the Homeless, not to mention the artists, from the Eleventh Street Lot. Tonight at midnight in the lot between A and B. Party at

Life Cafe to follow. (BEEP)

JOANNE'S FATHER (VO)

Well, Joanne, we're off. We tried you at your office, and they said you're stage managing or something.

JOANNE'S MOTHER (VO)

Remind her that those unwed mothers in Harlem

Need her legal help too.

JOANNE'S FATHER (VO)

Call Daisy for our itinerary or Alfred at Pound Ridge

Or Eileen at the state department in a pinch

We'll be at the spa for new year's

Unless the senator changes his mind.

JOANNE'S MOTHER (VO)

The hearings!

JOANNE'S FATHER (VO)

Oh yes! Kitten, Mummy's confirmation hearing begins on the tenth. We'll need you, alone, by the sixth.

JOANNE'S MOTHER (VO)

Harold!

JOANNE'S FATHER (VO)

You hear that? It's three weeks away, and she's already nervous!

JOANNE'S MOTHER (VO)

I am not!

JOANNE'S FATHER

For Mummy's sake, Kitten, no Doc Martens this time and wear a dress ...Oh, and Kitten…have a merry-

JOANNE'S MOTHER

-and a bra!!

INT. The Loft- A while ago- Mark's film

The scratchy camera lens is blocked by a cloud of pot smoke. When it clears we see a younger, very happy face of Collins. Mark's hand reaches in front of the lens, passing the joint, which Collins playfully takes with his mouth and begins smoking. Also gathered in the circle are Benny, Roger, and two women. One we recognize from the group photo we saw earlier, and we continue to assume this person is Maureen. The other woman we recognize as April, whose fate is sealed. But this is footage of happier times among friends. Mark narrates, introducing his friend.

MARK (VO)

Tom Collins, computer genius, teacher, vagabond anarchist, who ran naked through the Parthenon.

EXT. The Old Factory- Night- Reality and the present

Collins, with Band-Aids on his face and Angel's pickle jar filled with goodies, approaches the front door. Before he gets there, Mark steps out. Collins spots him and calls out.

COLLINS

Mark Cohen like a motherfucker! You are the man and I'm just visiting!

Mark looks over to see who's calling out. He spots Collins, laughs, runs over and they hug.

MARK

Collins! (they break the hug but hold each other in that friendly, let-me-look-at-you way for a moment) What the fuck happened to you, man?

COLLINS

Some little fuckers kicked the shit out of me is what happened. But I feel great! Where's Roger? I have some stuff for you guys.

Mark cranes his neck, cups his hands and shouts.

MARK

Roger! Come on down, man, Collins is here! (on the full pickle tub) What've you got there?

COLLINS

Tidings for the New Born King of Pop, man!

MARK

Holy shit!

Collins hands the tub to Mark, who opens it and begins to sift through it.

MARK AND COLLINS

Bustelo, Marlboro

Banana by the bunch

A box of Captain Crunch will taste so good!

COLLINS

And firewood!

Roger comes down, looking passive.

MARK

(on Collins and all the stuff) Look, it's Santa Claus!

COLLINS

Hold your applause.

ROGER

Oh, hi.

COLLINS

"Oh, hi" after seven months?

ROGER

Sorry.

COLLINS

This boy could use some Stoli!

He takes a vodka bottle from the tub, opens it and they pass it around as they carol.

ALL THREE

Oh, Holy Night…

MARK

You struck gold at MIT?

Collins shakes his head.

COLLINS

They expelled me for my theory of actual reality, which I'll soon impart to the couch potatoes at New York University. (on Roger's shabby appearance) Still haven't left the house?

ROGER

(laughing, playing it off) I was waiting for you, doncha know?

COLLINS

Well, tonight's the night! Come to the Life Café after Maureen's show!

ROGER AND MARK

No flow.

COLLINS

Gentlemen, our benefactor on this Christmas Eve, whose charity is only matched by talent, I believe, a new member of the Alphabet City avant garde: Angel Dumott Schunard!

From behind a nearby dumpster, Angel emerges. Now, Angel is decked out in fantastic, DIY drag as Santa's sexy mistress and is carrying her drumsticks. She approaches our boys and makes very pretty eyes at them.

ANGEL

Today for you… tomorrow for me!

Salsa music starts.

ANGEL

Today for you, tomorrow for me!

She flings a wad of cash, making it rain money, which Mark and Roger eagerly jump and catch.

COLLINS

And you should hear her beat!

ROGER

You earned this on the street?

ANGEL

It was my lucky day today on Avenue A

When a lady in a limousine drove my way

She said, "Dahling -- be a dear -- haven't slept in a year

I need your help to make my neighbor's yappy dog disappear"

"This Akita-Evita just won't shut up

I believe if you play non-stop that pup

Will breathe its very last high-strung breath

I'm certain that cur will bark itself to death"

Today for you -- tomorrow for me

Today for you -- tomorrow for me

We agreed on a fee -- A thousand dollar guarantee

Tax-free -- and a bonus if I trim her tree

Now who could foretell that it would go so well

But sure as I am here that dog is now in doggy hell

After an hour -- Evita -- in all her glory

On the window ledge of that 23rd story

Like Thelma & Louise did when they got the blues

Swan dove into the courtyard of the Gracie Mews

Today for you -- tomorrow for me

Today for you -- tomorrow for me

In a manner that would make any STOMP performer jealous, Angel wildly dances about using anything she sees-- walls, trash cans, etc.—as percussion instruments.

ANGEL

Then back to the street where I met my sweet

Where he was moaning and groaning on the cold concrete

The nurse took him home for some mercurochrome

And I dressed his wounds and got him back on his feet

Sing it!

Today for you -- tomorrow for me

Today for you -- tomorrow for me

Today for you -- tomorrow for me

Today for you -- tomorrow for me.

She does a superhuman back flip and throws her arms open. Collins, Roger and Mark applaud wildly.

ROGER

Hole-lee shit!

MARK

You've got a keeper there.

ROGER

Limber.

They all laugh. Suddenly, menacingly, Benny's big black Range Rover appears. He parks about a block away and begins walking up to the boys.

ANGEL

Who's that?

EXT. The Lot- A while back- Mark's Film

We are watching footage of a groundbreaking ceremony. Benny is standing with a group of wealthy looking men and their women, smiling in that cheesy, photo op way for a group of flashing newspapers cameras. The rich men and their trophy wives are gathered around a sign reading "Future Home of CyberArts- A Digital, Virtual, Interactive Studio!" Just out of sight of the mainstream cameras, but right where Mark's camera can see them, are Collins, Roger, Maureen and April. They do not look happy. Once again, Mark narrates.

MARK (VO)

Benjamin Coffin the third, our ex-roommate who married Alison Grey, of the Westport Greys -- then bought the building and the lot next door from his father-in-law in hopes of starting a cyber-studio.

EXT. The Lot- Exactly the Same Place- The present

Mark and Roger look a little uneasy. Angel playfully whispers to Mark.

ANGEL

You know, he's kind of cute.

MARK

He's a complete asshole, trust me.

ANGEL

Maybe, but I like my men like I like my coffee. Strong and black.

MARK

Oh, come on…

ANGEL

I'm only joking. (on Collins, whispering even lower) I am really into your friend over there, though.

Benny is approaching rapidly.

BENNY

Joy to the world, the lord is come

Let Earth receive Her King

Let every heart prepare him room

And heaven and nature sing

Good evening, gentlemen. Merry Christmas. Peace on earth. Good will toward men.

ROGER

Benny, check out your car.

Benny turns around. A HOMELESS MAN is seated on the hood of his car, drinking a beer out of a paper bag. Benny is horrified.

BENNY

(yelling) Hey! Ya bum! Yeah, you, move over! Get your ass off that Range Rover!

MARK

That attitude toward the homeless is exactly what Maureen is protesting tonight.

BENNY

Maureen is protesting

Losing her performance space

Not my attitude

ROGER

What happened to Benny?

What happened to his heart?

And the ideals he once pursued?

BENNY

The owner of that lot next door

Has a right to do with it as he pleases

COLLINS

Happy birthday, Jesus!

BENNY

The rent.

MARK

You're wasting your time!

ROGER

We're broke!

MARK

And you broke your word! This is absurd.

BENNY

There is one way you won't have to pay.

ROGER

I knew it!

BENNY

Next door, the home of Cyberarts, you see

And now that the block is re-zoned, our dream can become a reality

You'll see boys

You'll see boys

A state of the art, digital, virtual interactive studio

I'll forego your rent and on paper guarantee

That you can stay here for free

If you do me one small favor

MARK

What?

BENNY

Convince Maureen to cancel her protest

MARK

Why not just get an injunction or call the cops

BENNY

I did, and they're on stand by

But my investors would rather

I handle this quietly

ROGER

You can't quietly wipe out an entire tent city

Then watch 'It's a Wonderful Life' on TV!

BENNY

You want to produce films and write songs?

You need somewhere to do it!

It's what we used to dream about

Think twice before you pooh-pooh it

You'll see boys

You'll see boys

You'll see -- the beauty of a studio

That lets us do our work and get paid

With condos on the top

Whose rent keeps open our shop

Just stop the protest

And you'll have it made

You'll see -- or you'll pack

Benny hurriedly runs back to his car. In the distance, we see and hear him confronting the homeless man, who has yet to move.

ANGEL

That boy could use some Prozac!

ROGER

Or heavy drugs.

MARK

Or group hugs!

COLLINS

Which reminds me, we have a detour to make tonight. Anyone who wants to can come along

ANGEL

Life Support's a group for people coping with life.

You don't have to stay too long. Come along, Mark?

MARK

First I've got a protest to save.

ANGEL

Roger?

ROGER

I'm not much company, you'll find.

MARK

Behave!

ANGEL

He'll catch up later, he's just go other things on his mind. You'll see boys.

Mark and Collins attempt a group hug with Roger.

MARK AND COLLINS

We'll see boys.

Roger breaks away.

ROGER

Let it be boys!

Collins moves toward Angel, making lusty eyes at her.

COLLINS

I like boys.

Angel makes lusty eyes right back.

ANGEL

Boys like me.

ALL

We'll see.

Collins, "accidentally" bumping into Angel, notices the time on her watch.

COLLINS

Ah, shit, is that the time? We've only got a few minutes. You guys gotta either come or not, we've gotta head out.

ROGER

No, not tonight.

He heads inside.

COLLINS

Mark, you sure you don't wanna come along?

ANGEL

Doesn't matter if you're not sick or queer.

COLLINS

You can get the kind of footage that makes a career.

MARK

It's down at the church?

ANGEL

The little mission, yeah.

MARK

Okay, I'll head over in a few minutes. (he points across the lot.)

Angle on: Joanne struggling with electrical equipment.

Back to our boys.

COLLINS

Do not even tell me that's the famous Joanne.

Mark shrugs.

MARK

I guess it must be.

COLLINS

My friend, you have got balls of cast iron. All right, then, we'll see ya in a bit.

They leave.

EXT. Maureen's Makeshift Stage- Night- Mark's Film

Grainy footage of a platform, serving as a stage in the center of a tent city. The sort of thing Jesus would use if he were to preach today.

MARK (VO)

And so into the abyss: The lot, where a small stage is partially set up.

Mark's camera pans over to Joanne who is just having a hell of a time.

JOANNE

Line in. I went to Harvard for this?

The camera moves closer to where Joanne is struggling.

MARK (VO)

Close on Mark's nose dive.

EXT. The Lot- Reality

We see Mark and Joanne standing side by side. It becomes instantly clear that if Joanne ever found Mark to be in any way threatening, she could snap him in two and be done with it.

A group of street musicians has gathered around the lot area and are playing a tango.

MARK

(to himself) Will he make it out of here alive?

Joanne looks up, notices him.

JOANNE

Oh, don't even tell me. Mark?

MARK

(sheepish) Uh, hi.

JOANNE

I told her not to call you.

MARK

That's Maureen, but can I help since I'm here?

JOANNE

I've hired an engineer.

MARK

Great! Well, nice to have-

JOANNE

-wait! She's three hours late.

MARK

All right, let's have a look. What's the problem, exactly?

JOANNE

The samples won't delay, but the cables-

MARK

-there's another way. Say something. Anything.

Joanne speaks into the mic.

JOANNE

Test: 1, 2, 3.

Mark flinches. He hates clichés.

MARK

Anything but that.

As they make the next exchange, Mark ties two wires together, there is a small spark, and the machine is fixed.

JOANNE

This is weird.

MARK

It's weird.

JOANNE

Very weird.

MARK

Fuckin' weird.

JOANNE

I'm so mad that I don't know what to do. Fighting with microphones, freezing down to my bones, and to top it all off, I'm with you.

MARK

Feel like going insane, got a fire in your brain, and you're thinking of drinking gasoline?

JOANNE

As a matter of fact-

MARK

-honey, I know this act. It's called: The Tango Maureen.

He dances over to her.

MARK

The Tango: Maureen! It's a dark, dizzy, merry-go-round. As she keeps you danglin'-

JOANNE

-you're wrong-

MARK

-your heart she is manglin'

JOANNE

It's different with me…

MARK

So you toss and you turn, cause her cold eyes can burn, yet you yearn and you churn and rebound.

JOANNE

I think I know what you mean.

BOTH

The Tango: Maureen.

MARK

Has she ever pouted her lips and called you… Pookie?

JOANNE

Never.

MARK

Have you ever doubted a kiss or two?

JOANNE

This is spooky. Did you swoon when she walked through the door?

MARK

Every time, so be cautious.

JOANNE

Did she moon over other boys.

MARK

More than moon.

JOANNE

I'm getting nauseous.

MARK

Look, that's the girl, okay. It's the way she is.

JOANNE

I feel like I'm just a phase.

MARK

Like girls and horses?

JOANNE

Did you feel that way?

MARK

There were days…

JOANNE

I feel like she'd leave me for anyone if she had the chance.

MARK

You have to let it go. (on the musicians) May I have this dance?

She approaches him, tentatively. Together, they strike a pose and begin to tango.

MARK

Where'd you learn to tango?

JOANNE

With the French Ambassador's daughter in her dorm room at Miss Porter's. And you?

MARK

With Nanette Himmelfarb. The Rabbi's daughter at the Scarsdale Jewish Community Center.

They switch.

MARK

It's hard to do this backwards.

JOANNE

You should try it in heels!

She spins him.

JOANNE

She cheated!

MARK

She cheated?

JOANNE

Maureen cheated!

MARK

Fucking cheated!

JOANNE

I'm defeated, I should give up right now.

MARK

Gotta look on the bright side with all of your might.

JOANNE

I'd fall for her still, anyhow.

BOTH

When you're dancing her dance, you don't stand a chance. Her grip of romance makes you fall.

MARK

So you think, "Might as well-

JOANNE

-dance a tango to hell-

BOTH

-at least I'll have tangoed at all." The Tango: Maureen. Gotta dance til your diva is through. You pretend to believe her. Cause in the end you can't leave her. But the end it will come. Still you have to play dumb, til you're glum and you bum and turn blue.

MARK

Why do we love when she's mean?

JOANNE

And she can be so obscene…

MARK

Try the mic!

Joanne talks into it.

JOANNE

My Maureen…

The "een" echoes repeatedly into the night.

MARK

Patched!

JOANNE

Thanks!

MARK

Ya know, I feel great now.

JOANNE

I feel lousy.

The pay phone rings. Joanna answers it.

JOANNE

Hello? Oh, hi hon- POOKIE? You've never called me "Pookie!"

Mark makes a "what'd-I-tell-ya" face.

JOANNE

No, forget it, we're patched.

She hangs up.

BOTH

The Tango: Maureen.

MARK

Ya need anything else?

JOANNE

Look, I realize you've been Maureen's friend for years and I don't want things to be awkward between you and me. It's gotten pretty serious with Maureen and me.

MARK

Has it, now.

JOANNE

Yes, actually, we're living together.

MARK

Living together. Wow.

JOANNE

Oh, come on, you two used to live together.

MARK

She and I used to share an apartment with a broke philosopher, an overambitious yuppie asshole and a pair of punk songwriters who were usually so strung out on smack they weren't even sure where they were.

Joanne laughs.

JOANNE

Well, whatever. The point is, we've all gotta get along. (she puts out her hand) Friends?

MARK

Yeah, friends.

They shake hands.

JOANNE

Good. Glad we have that settled. Look, I have a million different things to do in a million different places before the show, so I'll catch ya there, all right?

MARK

Absolutely. It really was nice to meet you.

JOANNE

You too.

She leaves.

INT. Life Support Meeting

A group of folding chairs in arranged a circle. Everyone is clutching a cup of stale coffee as though it were their last surviving friend. They go around the room introducing themselves.

STEVE

Steve.

GORDON

Gordon.

ALI

Ali.

PAM

Pam.

SUE

Sue.

ANGEL

Hi, I'm Angel.

COLLINS

Tom. Collins.

PAUL

I'm Paul. Let's begin

ALL

There's only us

There's only this ...

Mark opens the door too loudly and, to boot, bumps a chair.

MARK

Sorry ... Excuse me ... oops.

PAUL

And you are?

MARK

Oh -- I'm not --

I'm just here to --

I don't have --

I'm here with --

Um -- Mark

Mark -- I'm Mark

Well -- this is quite an operation

PAUL

Sit down Mark

We'll continue the affirmation

ALL

Forget regret or life is yours to miss

GORDON

Excuse me Paul -- I'm having a problem with this

This credo -- My T-cells are low --

I regret that news, okay?

PAUL

Alright

But Gordon - How do you feel today?

GORDON

What do you mean?

PAUL

How do you feel today?

GORDON

Okay

PAUL

Is that all?

GORDON

Best I've felt all year

PAUL

Then why choose fear?

GORDON

I'm a New Yorker!

Fear's my life!

Look - I find some of what you teach suspect

Because I'm used to relying on intellect

But I try to open up to what I don't know

For a moment we cut back to the loft. Roger has placed an old picture of April between his guitar strings and is weeping over it.

ROGER

Because reason says I should have died

Three years ago

INT. Life Support Meeting

As before.

ALL

No other road

No other way

No day but today

INT. Mimi's Apartment

Mimi has placed the Well Hungarians flyer she stole on her vanity mirror. She kisses it. Cut to the opening riffs of "Out Tonight," Mimi primps and prepares. By the time she is done, anyone would kill just to look at her. As she sings, she seduces and humps various objects around her apartment.

MIMI

What's the time?

Well it's gotta be close to midnight

My body's talking to me

It says, "Time for danger"

It says "I wanna commit a crime

Wanna be the cause of a fight

Wanna put on a tight skirt and flirt

With a stranger"

I've had a knack from way back

At breaking the rules once I learn the games

Get up - life's too quick

I know someplace sick

Where this chick'll dance in the flames

We don't need any money

I always get in for free

You can get in too

If you get in with me

Let's go out tonight

I have to go out tonight

You wanna play?

Let's run away

We won't be back before it's Christmas day

Take me out tonight (meow)

When I get a wink from the doorman

Do you know how lucky you'll be?

That you're on line with the feline of Avenue B

Let's go out tonight

I have to go out tonight

You wanna prowl

Be my night owl?

Well take my hand we're gonna howl

Out tonight

In the evening I've got to roam

Can't sleep in the city of neon and chrome

Feels too damn much like home

When the Spanish babies cry

So let's find a bar

So dark we forget who we are

And all the scars from the

Nevers and maybes die

Let's go out tonight

Have to go out tonight

You're sweet

Wanna hit the street?

Wanna wail at the moon like a cat in heat?

Just take me out tonight!

She jumps down the stairs to Rogers front door and bursts in. She goes up to him and repeats the same act on him she did on her furniture. Toward the end, she does a very seductive dance with his guitar.

MIMI

Please take me out tonight

Don't forsake me -- out tonight

I'll let you make me -- out tonight

Tonight -- tonight – tonight

Roger looks at her. For a moment, we see his POV. From where he's sitting Mimi's face is right next to that of April, who is still in his guitar strings.

ROGER

Who do you think you are?

Barging in on me and my guitar

Little girl -- hey

The door is that way

You better go you know

The fire's out anyway

Take your powder -- take your candle

Your sweet whisper

I just can't handle

Well take your hair in the moonlight

Your brown eyes -- goodbye, goodnight

I should tell you I should tell you

I should tell you I should -- no!

Another time -- another place

Our temperature would climb

There'd be a long embrace

We'd do another dance

It'd be another play

Looking for romance?

Come back another day

Another day

MIMI

The heart may freeze or it can burn

The pain will ease if I can learn

There is no future

There is no past

I live this moment as my last

There's only us

There's only this

Forget regret

Or life is yours to miss

No other road

No other way

No day but today

ROGER

Excuse me if I'm off track

But if you're so wise

Then tell me -- why do you need smack?

Take your needle

Take your fancy prayer

And don't forget

Get the moonlight out of your hair

Long ago -- you might've lit up my heart

But the fire's dead -- ain't never ever gonna start

Another time -- another place

The words would only rhyme

We'd be in outer space

It'd be another song

We'd sing another way

You wanna prove me wrong?

Come back another day

Another day

MIMI

There's only yes

Only tonight

We must let go

To know what's right

No other course

No other way

No day but today

Mimi leaves in a huff.

INT. Life Support

The moment the scene begins, everyone is signing. Mimi enters and joins them.

MIMI AND SUPPORT MEMBERS

I can't control

My destiny

I trust my soul

My only goal is just

To be

There's only now

There's only here

Give in to love

Or live in fear

No other path

No other way

No day but today...

INT. Loft

Roger is violently punching a pillow. As the audio overlaps, we cut between the majority of our heroes at Life Support, finding peace, and the exception, Roger, working it all out his way.

ROGER

Control your temper

She doesn't see

Who says that there's a soul?

Just let me be...

Who do you think you are?

Barging in on me and my guitar

Little girl, hey

The door is that way

The fire's out anyway

INT. Life Support

ALL

No day but today

No day but today

No day but today

No day but today

No day but today

ROGER

Take your powder; take your candle

Take your brown eyes, your pretty smile, your silhouette

Another time, another place

Another rhyme, a warm embrace

Another dance, another way

Another chance, another day

The Life Support Choir's voice echoes "No Day But Today" in Roger's head.

Roger picks up his guitar and plays a simple riff.

ROGER

I'm writing one great song before I…

Will I lose my dignity?

Will someone care?

Will I wake tomorrow from this nightmare?

Will I lose my dignity?

Will someone care?

Will I wake tomorrow from this nightmare?

Roger puts down his guitar and steps outside of the house.

EXT. Street

A crowd of homeless have gathered outside the mission. They are ringing Salvation Army-style bells.

HOMELESS CHOIR

Christmas bells are ringing

Christmas bells are ringing

Christmas bells are ringing

Out of town

Santa Fe

Mark, Collins and Angel come out of the building. Angel gives a homeless person a small wad of bills. The homeless person looks stunned.

ANGEL

Dee-dee-dee-dee-dee-dee-dee.

As they go about their merry way, they pass a man with a sqeeguee attempting to wash someone's windshield.

SQUEEGEEMAN

Honest living, man!

The guy in the car revs the engine. The squeegeeman jumps off just in time.

SQEEGEEMAN

Felìz navidad?

ANGEL

Dee-dee-dee-dee.

Soon, they come upon a homeless woman trying to sell someone stolen coats. The police approach and the potential customer flees, so as to avoid an incident. Our heroes, however, decide to confront the cops. They approach.

COLLINS

Evenin' officers.

Mark points his camera at the scene.

MARK

Smile for Ted Koppel, Officer Martin!

The cops blow them off, turn and leave.

COLLINS

(calling after them) And a Merry Christmas to your family!

COP

(calling back) Right!

The homeless lady looks furious.

HOMELESS LADY

Who the fuck do you think you are?

I don't need no goddamn help from bleeding heart cameraman.

My life's not for you to make a name for yourself on!

ANGEL

Easy, sugar, easy. He was just trying to-

HOMELESS LADY

Just trying to use me to kill his guilt! Well, it's not that kind of movie, honey! Let's go. This lot is full of motherfucking artists! (beat) Hey! Artist! Got a dollar?

Mark looks embarrassed.

HOMELESS LADY

I thought not.

She picks up her pile of coats and storms off. Collins thinks he notices something as she leaves.

COLLINS

Was that my— never mind.

ANGEL

So why did your little friend not want to come along tonight?

MARK

He's not having an easy time.

ANGEL

How do you mean?

MARK

Well, you could say he's coming off a bad relationship.

ANGEL

Bad breakup?

MARK

Worse.

COLLINS

You talking about April?

MARK

Yeah.

ANGEL

Who's April?

COLLINS

Suicidal girl who od'ed.

He says he loved her, what he loves is to bleed.

MARK

Yeah, she died ugly. Full of drugs, slash marks on her wrists. It's… it's real hard on all of us.

ANGEL

So this boy is still stuck on a girl when she's moved on all the way to the other side.

MARK

That's a way to put it.

ANGEL

I like him already. Another freak in the freak kingdom.

MARK

Freak kingdom?

ANGEL

New Your City. Center of the universe.

COLLINS

Sang it, girl!

ANGEL

Times are shitty, but I'm pretty sure they can't get worse.

MARK

I hear that.

ANGEL

It's a comfort to know, when you're singing the Hit The Road Blues, that anywhere else you could possibly go after New York would be… a pleasure cruise!

COLLINS

Now you're talkin'!

They pause for a while. Angel starts a tribal sort of drum beat, and Collins begins a dance to match. Mark stands there and films.

COLLINS

Well, I'm thwarted by a metaphysic puzzle

And I'm sick of grading papers -- that I know

And I'm shouting in my sleep, I need a muzzle

All this misery pays no salary, so

Let's open up a restaurant in Santa Fe

Oh sunny Santa Fe would be nice

Let's open up a restaurant in Santa Fe

And leave this to the roaches and mice

The homeless choir gathers around them.

COLLINS AND THE CHOIR

Whoah oh whoah oh whoah oh whoah ohhh whohhh.

Like the Pied Piper, Collins leads Angel and Mark away from the scene, with all the homeless following them.

ANGEL

You teach?

COLLINS

Yeah, I teach.

Computer Age Philosophy

My students would rather watch TV

ANGEL

America.

ALL

America.

Collins suddenly stops. The crowd stops with him. He is a natural leader. He begins addressing the crowd, giving everyone specific jobs at the restaurant. Angel gets the drum job, of course.

COLLINS

You're a sensitive aesthete

Brush the sauce onto the meat

You could make the menu sparkle with rhyme

You could drum a gentle drum

I could seat guests as they come

Chatting not about Heidegger, but wine!

Let's open up a restaurant in Santa Fe

Our labors would reap financial gains.

HOMELESS CHOIR

Gains, gains, gains!

COLLINS

We'll open up a restaurant in Santa Fe

And save from devastation our brains

HOMELESS

Save our brains

ALL

We'll pack up all our junk and fly so far away

Devote ourselves to projects that sell

We'll open up a restaurant in Santa Fe

Forget this cold Bohemian hell

Oh--

ALL

Oh--

COLLINS

Do you know the way to Santa Fe?

You know, tumbleweeds...prairie dogs...

MARK AND ANGEL

Yeah.

The crowd of homeless breaks up, each going their separate ways.

MARK

All right, I'll meet you guys at the show. I'll try and convince Roger to go.

He leaves.

ANGEL

Ah, alone at last.

COLLINS

He'll be back, I guarantee.

ANGEL

I've been hearing violins all night.

COLLINS

Anything to do with me? Are we, uh, are we a, a thing?

ANGEL

Darling, we're everything! Live in my house, I'll be your shelter, just pay me back with 1,000 kisses. Be my lover and I'll cover you…

COLLINS

Open your door

I'll be your tenant

Don't got much baggage

To lay at your feet

But sweet kisses I've got to spare

I'll be there -- I'll cover you

As the song continues, Collins and Angel run through the streets, which are fantastically decorated for Christmas. There are lights in all directions. Gigantic snowmen, animated Santas, etc. The city is beautiful and they are very much in love.

BOTH

I think they meant it

When they said you can't buy love

Now I know you can rent it

A new lease you are, my love,

On life -- be my life

Just slip me on

I'll be your blanket

Wherever -- whatever -- I'll be your coat

ANGEL

You'll be my king

And I'll be your castle

COLLINS

No you'll be my queen

And I'll be your moat

BOTH

I think they meant it

When they said you can't buy love

Now I know you can rent it

A new lease you are, my love,

On life -- all my life

I've longed to discover

Something as true as this is

COLLINS

So with a thousand

sweet kisses

I'll cover you

With a thousand sweet kisses

I'll cover you

When you're worn

out and tired

When your heart has expired

ANGEL

If you're cold

And you're lonely

You've got one nickel only

With a thousand sweet kisses

I'll cover you

With a thousand sweet kisses

I'll cover you

BOTH

Oh lover I'll cover you

Oh lover I'll cover you

The last display they pass is an unusually large Nativity scene. Above it are neon lights that read "Jesus Loves You." As they gaze upon it, the message changes to read "Collins Loves Angel." The pair kisses, sweetly.

EXT. Pay phone

Joanne is talking into her cell.

JOANNE

Steve -- Joanne

The Murget case?

A dismissal!

Good work counselor

The pay phone rings. JOANNE answers it and begins a conversation with MAUREEN

simultaneously juggling two other calls on her cellular phone.

We're okay

Honeybear -- wait!

I'm on the other phone

Yes, I have the cowbell

We're okay

(into cellular phone)

So tell them we'll sue

But a settlement will do

Sexual harassment -- and civil rights too

Steve, you're great

(into pay phone)

No you cut the paper plate

Didja cheat on Mark a lot would you say?

We're okay

Honey hold on...

(into cellular phone)

Steve, hold on...

(JOANNE presses the call-waiting button on the cellular phone)

Hello?

Dad -- yes

I beeped you

Maureen is coming to Mother's hearing

We're okay

(into pay phone)

Honeybear - what?

Newt's lesbian sister

I'll tell them

(into cellular phone)

You heard?

(into pay phone)

They heard

We're okay

(into cellular phone)

And to you dad

(JOANNE presses the call-waiting as she speaks into the pay phone)

Yes -- Jill is there?

(into cellular phone)

Steve gotta --

(into pay phone)

Jill with the short black hair?

The Calvin Klein model?

(into cellular phone)

Steve, gotta go!

(into pay phone)

The model who lives in Penthouse A???

We're

We're okay

I'm on my way.

INT. Loft

Mark is sitting at his editing bay. We see a close up of what he is working on:

A shot of the Life Support circle becomes the circle of homeless gathered the trash can fire.

MARK (FAINT VOICE OVER FROM PLAYBACK MACHINE)

Desperation forms rings. Loss exists in a circle.

Roger suddenly enters.

MARK

Where have you been?

ROGER

(evasive) I just went for a walk. Clear my head.

MARK

Are you okay?

ROGER

Maybe.

MARK

What happened?

ROGER

This girl…

MARK

Hold on, I just gotta get this take finished.

INT. Puppet Stage of the exterior shot

We see a Claymation set of the old music factory, the stage, the pay phone, etc. The entire number is done in one shot, with animated versions of the people we've seen moving in and out of it. As the number opens, the Homeless Choir appears, one animated figure at a time, as they join the harmony.

HOMELESS CHOIR

Christmas bells are ringing

Christmas bells are ringing

Christmas bells are singing

On TV - at Saks

An car drives by with the Squeegueeman chasing it.

SQUEEGUEEMAN

Honest living, honest living

Honest living, honest living

Honest living, honest living

A well-to-do man strolls by the choir.

HOMLESS CHOIR

Can't you spare a dime or two

Here but for the grace of God go you

You'll be merry

I'll be merry

Tho merry ain't in my vocabulary

No sleighbells

No Santa Claus

No yule log

No tinsel

No holly

No hearth

No

Just then, the familiar figure of RUDOLPH THE RED-NOSED REINDEER comes frolicking over.

SOLOIST

(flipping him off) 'Rudolph the red nosed reindeer'

HOMELESS CHOIR

(all flipping him off) 'Rudolph the red nosed reindeer'

Rudolph walks away, looking a little hurt.

HOMLESS CHOIR

No room at the Holiday Inn

Oh noooo

And it's beginning to snow.

As the last line comes, large, cartooney snowflakes descend on the scene.

Small stages with vendor figures ascend on the stage.

VENDORS

Hats, bats, shoes, booze

Mountain bikes, potpourri

Leather bags, girlie mags

Forty-fives, AZT

VENDOR #1

No one's buying

VENDOR # 2

Feel like cryin?

ALL

No room at the Holiday Inn, oh no

And it's beginning to snow

The adorable, cuddly, animated versions of Angel and Collins come around the corner and approach one of the vendors. It is the cartoon version of the Blanket Lady from earlier, the one Collins suspected of having his coat.

BLANKET LADY

How about a fur --

In perfect shape

Owned by an MBA from uptown

I got a tweed

Broken in by a greedy

Broker who went broke

And then broke down

Collins pulls Angel aside.

COLLINS

You don't have to do this.

Angel leads him back to the vendor.

ANGEL

Hush your mouth, it's Christmas

COLLINS

I do not deserve you, Angel

They sing the next part simultaneously.

COLLINS

Give--give

All you do

Is give

Give me some way to show

How much you've touched me so

Angel ignores him, talks to the vendor.

ANGEL

Wait--what's on the floor?

Let's see some more...

No--no--no...

ANGEL

Kiss me -- it's beginning to snow.

They kiss.

The animated figures of Mark and Roger appear on their fire escape.

MARK

She said "Would you light my candle" and she put on a pout, and she wanted you to take her out tonight?

ROGER

Right.

MARK

She got you out!

ROGER

She was more than okay, but I pushed her away

It was bad, I got mad, and I had to get her out of my sight.

MARK

Wait, wait, wait!

You said she was sweet!

ROGER

Let's go eat. I'll get fat

It's the one vice left when you're dead meat.

At that moment, in the streets below, the animated version of Mimi, along with a bunch of dope fiends and their dealer, THE MAN walk by. Roger points.

ROGER

There!

That's

Her!

MARK

Maureen?

ROGER

Mimi!

MARK

Whoah!

ROGER

I should go.

BOTH

Hey, it's beginning to snow!

A cop car drives up, two COPS get out.

COPS

I'm dreaming of a white, right Christmas!

MIMI AND THE DOPE FIENDS

Follow the man -- follow the man

With his pockets full of the jam

Follow the man -- follow the man

Help me out, daddy

If you can

Got any D man?

THE MAN

I'm cool

MIMI & DOPE FIENDS

Got any C man?

THE MAN

I'm cool

MIMI & DOPE FIENDS

Got any X?

Any smack?

Any horse?

Any jugie boogie boy?

Any blow?

The Roger figure steps out of the building and pulls Mimi aside.

ROGER

Hey

MIMI

Hey

ROGER

I just want to say

I'm sorry for the way --

MIMI

Forget it

ROGER

I blew up

Can I make it up to you?

MIMI

How?

ROGER

Dinner party?

MIMI

That'll do

THE MAN

Hey lover boy -- cutie pie

You steal my client -- you die

ROGER

You didn't miss me -- you won't miss her

You'll never lack for customers

DOPE FIENDS

I'm willin'

I'm illin'

I gotta get my sickness off

Gotta run, gotta ride

Gotta gun, gotta hide -- gotta go

THE MAN

And it's beginning to snow

The animated figure of Benny flies by on a hang glider, talking on his cell.

BENNY

Wish me luck, Alison

The protest is on

All the singing and movement begins to happen simultaneously. Angel continues to barter with the Blanket Person, cops arrest dope fiends, Mimi is introduced to Mark. Every now and then, a car drives by with Squeegeeman in hot pursuit. And Benny continues back and forth on his hang glider. At a certain point, Rudolph and Santa can be seen joining the dope fiends, buying shit from The Man.

BLANKET PERSON

L.L Bean

Geoffrey Beene

Burburry zip out

Lining

DOPE FIENDS

Got any C man?

Got any D man?

Got any B man?

Got any crack?

Got any X?

SQUEEGEEMAN

Honest living --

ROGER

Mark, this is Mimi --

MARK/MIMI

Hi

ROGER

She'll be dining with us

BLANKET PERSON

Here's a new arrival

THE MAN

That is an ounce

VENDORS

Hats, dats, bats

COLLINS

That's my coat!

BLANKET PERSON

We give discounts

MARK

I think we've met

ANGEL

Let's get a better one

COLLINS

It's a sham

MIMI

That's what he said

THE MAN

I said it's a gram!

COLLINS

But she's a thief!

ANGEL

But she brought us together

BENNY

Which investor is coming??

COLLINS

I'll take the leather

BENNY

Your father? -- Damn!

HOMELESS & VENDORS

Christmas bells are swinging

Christmas bells are ringing

Christmas bells are singing

In my dreams -- next year

Once you donate you can go

Celebrate in Tuckahoe

You'll feel cheery

I'll feel cheery

Tho' I don't really know that theory

No bathrobe

No steuben glass

No cappucino makers

No pearls, no diamonds

No 'Chestnuts roasting on an open fire'

Chestnuts roasting on an open fire

No room at the Holiday Inn, oh no --

POLICE OFFICERS

I'm dreaming of a white Christmas

Just like the ones I used to know

Jingle bells -- prison cells

Fa la la la -- fa la la la

You have the right to remain

Silent night holy night

Fall on your knees oh night divine

You'll do some time

Fa la la la la

Fa la la la la

DOPE FIENDS

Got any C man?

Got any D man?

Got any B man?

Got any X? -- Crack?

I'm willin' -- I'm illin'

Gotta get my sickness off

C-D help me

Follow the man -- follow the man

Follow the man

Jugie boogie -- jugie boogie

Follow the man -- follow the man

Any crack any X any jugie boogie boy

Any blow any X any jugie boogie boy

Got any D man, got any C man

Got any crack -- any X -- any jugie boogie?

BLANKET PERSON

Twenty-five

ANGEL

Fifteen

BLANKET PERSON

Twenty-five

ANGEL

Fifteen

BLANKET PERSON

No way

Twenty-four

ANGEL

Fifteen

BLANKET PERSON

Twenty-four

ANGEL

Fifteen

BLANKET PERSON

Not today

Twenty-three

ANGEL

Fifteen

BLANKET PERSON

Twenty-three

ANGEL

Fifteen

It's old

BLANKET PERSON

Twenty-two

ANGEL

Fifteen

BLANKET PERSON

Twenty-one

ANGEL

Fifteen

BLANKET PERSON

Seventeen

ANGEL

Fifteen

BLANKET PERSON

Fifteen

ANGEL & BLANKET PERSON

Sold!

MARK & ROGER

Let's

Go

To

The lot -- Maureen's performing

MIMI

Who's Maureen?

ROGER

His ex

MARK

But I am over her

ROGER

Let's not hold hands yet

MIMI

Is that a warning?

ALL THREE

He/You/I

Just

Need(s)

To take it slow

I should tell you I should tell you

I should tell you I should tell you

I should tell you I ...

ALL

And it's beginning to

And it's beginning to

And it's beginning to ---

With the blasting sound of a motorcycle engine, we are brought back to:

EXT. The Lot- NIGHT- Reality

Everyone is gathered in the same positions they were in the animated sequence. MAUREEN (yes, it's her, who we've seen in photos and old bits of film) pulls up on a motorcycle.

MAUREEN

Joanne, which way to the stage?

ALL

SNOW!!!

The film shakes and starts to run out. As it does, there is a flash (a few frames) of April talking to the man.

APRIL

You got any pure?

THE MAN

Fuck off, bitch, you give me a bad name.

As this film runs out, we again, as in the very beginning, see title cards:

A MARK COHEN FILM

CREATING DESTRUCTION, DESTROYING CREATION

MARK (VO)

Maureen's performance!

EXT. The lot- Night- Mark's Film

Maureen is standing on the stage, dressed in a black turtle neck. She looks basically like every other performance artist ever.

MAUREEN

Last night I had a dream.

EXT. Nightmare Desert- NIGHT

Maureen's performance space suddenly becomes a fairy tale kingdom after a nuclear explosion. Red sky, the whole bit. The homeless she was once performing for have become classic fairy tale characters: Little Bo Peep, Red Riding Hood, Pinocchio, The Three Little Pigs, etc. In the front are Dorothy, The Scarecrow, The Tin Woodman and the Cowardly Lion, sitting among our regular heroes: Mark, Collins, Roger, Angel and Mimi.

MAUREEN

I found myself in a desert called Cyberland.

It was hot. My canteen had sprung a leak and I was thirsty.

A fairy tale cow, resembling Joanne, comes galloping over. Maureen pets her lovingly.

MAUREEN

Out of the abyss walked a cow -- Elsie.

I asked if she had anything to drink.

She said, "I'm forbidden to produce milk.

In Cyberland, we only drink Diet Coke."

She said, "Only thing to do is jump over the moon"

"They've closed everything real down ... like barns, troughs, performance spaces ...

And replaced it all with lies and rules and virtual life.

But there is a way out ...

ELSIE/JOANNE

Leap of faith, leap of faith

Leap of faith, leap of faith

MAUREEN

"Only thing to do is jump over the moon"

EXT. Apocalyptic Street- NIGHT

A yellow truck comes tearing out of the ruined landscape. Maureen is bound by rope to the hood. At the wheel is a demented vision of Mickey Mouse, laughing wickedly with a crack pipe firmly clenched between his teeth.

MAUREEN

I gotta get out of here! It's like I'm being tied

to the hood of a yellow rental truck, being packed

in with fertilizer and fuel oil, pushed over a cliff

by a suicidal Mickey Mouse! -- I've gotta find a way

Back to the desert

MAUREEN

"To jump over the moon

Only thing to do is jump over the moon"

ELSIE/JOANNE

Leap of faith, leap of faith…

A small scene appears behind Maureen. It includes a small, rundown cottage and a very nicely furnished dog house with the name "BENNY" on it in gold lettering. Two bulldogs, one looking a great deal like Benny and the other a female, emerge.

MAUREEN

Then a little bulldog entered. His name (we have learned) was Benny.

And although he once had principles,

He abandoned them to live as a lap dog to a wealthy daughter of the revolution.

Out of the rundown cottage come the dish and the spoon, who resemble Roger and Mark, respectively. They act out the scene as Maureen describes it.

MAUREEN

That's bull," he said.

"Ever since the cat took up the fiddle, that cow's been jumpy.

And the dish and the spoon were evicted from the table -- and eloped ...

She's had trouble with that milk and the moon ever since.

Maybe it's a female thing.

'Cause who'd want to leave Cyberland anyway?...

Walls ain't so bad.

The dish and the spoon for instance.

They were down on their luck - knocked on my doghouse door.

I said, "Not in my backyard, utensils! Go back to China!"

The scene disappears.

MAUREEN

"The only way out is up," Elsie whispered to me.

"A leap of faith. Still thirsty?" she asked.

Parched. "Have some milk."

I lowered myself beneath her and held my mouth to her swollen udder

And sucked the sweetest milk I'd ever tasted."

(She does so.)

"Climb on board," she said.

(She does so.)

And as a harvest moon rose over Cyberland,

We reared back and sprang into a gallop.

Leaping out of orbit!!!

(Elsie runs toward the background and jumps over the moon, which smiles at her.)

EXT. The Lot- Night- Mark's film.

We return, once again, to reality. Maureen is on her stage performing for the homeless.

MAUREEN

I awoke singing.

RECORDED VOICE

Leap of faith, leap of faith…

MAUREEN

Only thing to do

Only thing to do is jump

Only thing to do is jump over the moon

Only thing to do is jump over the moon

Over the moon -- over the

Moooooooo

Moooooooo

Moooooooo

Moooooooo

Moo with me.

MAUREEN encourages the audience to moo with her. She says, "C'mon, sir, moo with

me," etc. The audience responds. When the "moos" reach their climax, she cuts them off with a big sweep of her arms.

MAUREEN

Thank you.

There is thunderous applause.

The homeless gradually break up, returning to their tents. Maureen jumps down from the stage. She smiles. Mark avoids her eye.

MAUREEN

Was I good?

MIMI

You were fucking awesome!

MAUREEN

Oh, why, thank you, and who might you be?

Mimi throws her hand forward.

MIMI

I'm Mimi.

She puts her free arm around Roger, who recoils a little.

MIMI

I'm Roger's date for the after party.

Maureen shakes her hand.

MAUREEN

Well, it's very nice to meet you, then.

Maureen leans in and whispers to Mimi.

MAUREEN

That boy needs to get laid.

MARK

Well, shall we go to the Life Café?

COLLINS

(sarcastically) Are you paying?

They all start to walk.

INT. Life Café- Night

Our heroes enter excitedly. Benny, along with the people we've seen earlier in the film of the groundbreaking, are already seated at a table. The host looks very nervous as our heroes enter.

HOST

No please no

Not tonight please no

Mister -- can't you go --

Not tonight -- can't have a scene

ROGER

What?

HOST

Go, please go;

You -- Hello, sir --

I said, "No"

Important customer

MARK

What am I, just a blur?

HOST

You sit all night and never buy!

MARK

That's a lie!

That's a lie!

I had a tea the other day

HOST

You couldn't pay!

MARK

Oh yeah…

Collins looks into the dining room and sees Benny.

COLLINS

(shouting) Benjamin Coffin, the Third? Here?

HOST

Oh no!

OUR HEROES

WINE AND BEER!

Maureen looks over and locks eyes with Benny.

MAUREEN

The enemy of Avenue A. We'll stay.

HOST

Oy vey!

Our heroes move over and take a table right next to Benny's.

COLLINS

What brings a mogul in his own mind to the Life Café?

Benny stands, glass in hand.

BENNY

I would like to propose a toast, to Maureen's noble try. It went well.

MAUREEN

Go to hell.

BENNY

Was the yuppie scum stomped? Not counting the homeless, how many tickets weren't comped?

ROGER

Why did Muffy-

BENNY

ALLISON!

ROGER

-miss the show?

BENNY

There was a death in the family, if you must know?

ANGEL

Who died?

BENNY

Our Akita.

Angel, Roger, Mark and Collins make the connection.

BENNY, ANGEL, MARK, ROGER, COLLINS

Evita!

Benny notices Mimi and makes eye contact. She looks away.

BENNY

Mimi -- I'm surprised

A bright and charming girl like you

Hangs out with these slackers

Who don't adhere to deals

They make fun -- yet I'm the one

Attempting to do some good

Or do you really want a neighborhood

Where people piss on your stoop every night?

Bohemia, Bohemia's

A fallacy in your head

This is Calcutta

Bohemia is dead

With the piano riff that follows this line, the Life Café becomes:

INT. Fantasy Banquet Hall

Benny is now dressed as Hitler and his father in law is dressed as Napoleon. Our heroes' table has expanded greatly: they are now joined by various historical and pop culture figures who have inspired them: great Greek philosophers, legendary filmmakers, punk rock icons, Pee-Wee Herman, and, once again, Dorothy, the Scarecrow, the Tin Woodman and the Cowardly Lion. All the persons mentioned in the song are present, and when their names come up, they are pointed out. Mark is addressing the entire crowd, with a shawl wrapped around his head, making him resemble a Russian Jewish grandmother.

MARK

Dearly beloved we gather here to say our goodbyes

COLLINS & ROGER

Dies irae -- dies illa

Kyrie eleison

Yitgadal v' yitkadash, etc.

MARK

Here she lies

No one knew her worth

The late great daughter of mother earth

On this night when we celebrate the birth

In that little town of Bethlehem

We raise our glass -- you bet your ass to --

(MAUREEN flashes hers.)

La vie Boheme

ALL

La vie Boheme

La vie Boheme

La vie Boheme

La vie Boheme

Mark jumps up on the table and, as he sings begins kicking silver serving trays off it, which Hitler/Benny and Napoleon/Mr. Grey dodge.

MARK

To days of inspiration

Playing hookie, making something out of nothing

The need to express --

To communicate,

To going against the grain,

Going insane

Going mad

To loving tension, no pension

To more than one dimension,

To starving for attention,

Hating convention, hating pretension

Not to mention of course,

Hating dear old mom and dad

To riding your bike,

Midday past the three piece suits

To fruits -- to no absolutes --

To Absolut -- to choice --

To the Village Voice --

To any passing fad

ALL

La vie Boheme

La vie Boheme

JOANNE enters.

MAUREEN

Is the equipment in a pyramid?

JOANNE

It is, Maureen

MAUREEN

The mixer doesn't have a case

Don't give me that face

MAUREEN smacks JOANNE's ass as she exits. Napoleon/Mr. Grey reacts.

NAPOLEON/MR. GREY

Ahhemm

MAUREEN

Hey Mister -- she's my sister

Mark jumps down from the table, leaving one silver serving tray intact. Out from it pops the host, holding a pad and pencil with which to take the order.

HOST

So that's five miso soup, four seaweed salad

Three soy burger dinner, two tofu dog platter

And one pasta with meatless balls

PEE-WEE

Ewww!

COLLINS

It tastes the same.

MIMI

If you close your eyes.

HOST

And thirteen orders of fries. Is that it here?

ALL

Wine and beer!

Mimi and Angel jump up on the table. They simulate mutual cunnilingus on each other as they sing.

MIMI AND ANGEL

To hand-crafted beers made in local breweries

To yoga, to yogurt, to rice and beans and cheese

To leather, to dildos, to curry vindaloo

To huevos rancheros and Maya Angelou

COLLINS AND MAUREEN

Emotion, devotion, to causing a commotion

Creation, vacation

MARK

Mucho masturbation

MAUREEN & COLLINS

Compassion, to fashion, to passion when it's new

COLLINS

To Sontag

ANGEL

To Sondheim

FOUR PEOPLE

To anything taboo

COLLINS & ROGER

Ginsberg, Dylan, Cunningham and Cage

COLLINS

Lenny Bruce

ROGER

Langston Hughes

MAUREEN

To the stage

PERSON #1

To Uta

PERSON #2

To Buddha

PERSON #3

Pablo Neruda, too

MARK & MIMI

Why Dorothy and Toto went over the rainbow

To blow off Auntie Em

ALL

La vie Boheme

JOANNE returns.

MAUREEN

And wipe the speakers off before you pack

JOANNE

Yes, Maureen

MAUREEN

Well -- hurry back

MAUREEN and JOANNE kiss.

NAPOLEON/MR. GREY

Sisters?

MAUREEN

We're close

ANGEL jumps on top of COLLINS, who's on the table. They kiss.

ANGEL, COLLINS, MAUREEN, MARK, MR. GREY

Brothers!

MARK, ANGEL, MIMI & THREE OTHERS

Bisexuals, trisexuals, homo sapiens,

Carcinogens, hallucinogens, men, Pee Wee Herman

German wine, turpentine, Gertrude Stein

Antonioni, Bertolucci, Kurosawa

Carmina Burana

ALL

To apathy, to entropy, to empathy, ecstasy

Vaclav Havel -- The Sex Pistols, 8BC,

To no shame -- never playing the Fame Game

COLLINS

To marijuana

ALL

To sodomy,

It's between God and me

To S & M

NAPOLEON/MR. GREY walks out.

HITLER/BENNY

Waiter...Waiter...Waiter

ALL

La vie Boheme

Collins picks up an announcer's microphone.

COLLINS

In honor of the death of Bohemia an impromptu salon will commence immediately

following dinner...

Mimi Marquez, clad only in bubble wrap, will perform her famous lawn chair-handcuff

dance to the sounds of iced tea being stirred.

He passes the mic to Roger.

ROGER

Mark Cohen will preview his new documentary about his inability to hold an erection

on high holy days.

He tosses it to Mark, then picks up his guitar and tunes it.

MARK

Maureen Johnson, back from her spectacular one-night engagement at the eleventh

street lot,

Will sing native american tribal chants backwards through her vocoder,

While accompanying herself on the electric cello --

Which she has never studied.

Hitler/Benny walks up to Mimi, pulls her aside.

HITLER/BENNY

Your new boyfriend doesn't know about us?

MIMI

There's nothing to know.

HTLER/BENNY

Don't you think that we should discuss –

MIMI

It was three months ago.

HITLER/BENNY

He doesn't act like he's with you.

MIMI

We're taking it slow.

BENNY

Where is he now?

MIMI

He's, um-

BENNY

Uh huh.

MIMI

Where'd he go?

The focus returns to the rest of the group, who have been reveling all this time.

MARK

Roger will attempt to write a bittersweet, evocative song.

With passion and gusto, Mark plays Musetta's Waltz.

MARK

That doesn't remind us of "Musetta's Waltz!"

Mark tosses the mic to Collins.

COLLINS

Angel Dumott Schunard will now model the latest fall fashions from Paris

While accompanying herself on the 10 gallon plastic pickle tub.

Angel enthusiastically grabs the mic.

ANGEL

And Collins will recount his exploits as an anarchist --

Including the successful reprogramming of the M.I.T. virtual reality equipment

To self-destruct, as it broadcast the words:

ALL

"Actual reality -- Act Up -- Fight AIDS."

HITLER/BENNY

Check!

Mimi runs up to Roger angrily and knocks the guitar out of his hands.

MIMI

Excuse me, did I do something wrong? I get invited then ignored all night long!

ROGER

I'm tryin', I'm not lyin', no one's perfect! I've got baggage!

MIMI

Life's too short, babe, time is flyin'. I'm lookin' for baggage that goes with mine.

ROGER

I should tell you-

MIMI

-I've got baggage, too.

ROGER

I should tell you-

MIMI

-baggage-

ALL

Wine and beer!

A pager goes off.

Close Up: Roger's hand grabbing his pager. It is not beeping.

Close Up: Mimi's hand grabbing her pager. It is beeping and flashing the message "Take your AZT."

Back to two-shot of Mimi and Roger.

MIMI

AZT break.

Roger realizes what is going on.

ROGER

You?

MIMI

Me. You?

The pain in Roger's face speaks volumes.

ROGER

Mimi-

INT. Closed Wax Museum- Night

The banquet hall has become a wax museum after hours. Our heroes, their idols and their enemies have become wax figures above them is a banner reading:

THE LAST DAYS OF BOHEMIA

Here until January 25

Mimi and Roger stand in front of the display.

ROGER

I should tell you I'm disaster. I forget how to begin it.

MIMI

Let's just make this part go faster. I have yet to be in it. I should tell you-

ROGER

-I should tell you-

MIMI

-I should tell you-

ROGER

-I should tell you-

MIMI

I should tell I blew the candle out, just to get back in.

ROGER

I'd forgotten how to smile, until your candle burnt my skin.

MIMI

I should tell you

ROGER

I should tell you

MIMI

I should tell you

BOTH

I should tell

Well, here we go

Now we --

MIMI

Oh no

ROGER

I know -- this something is

Here goes --

MIMI

Here goes

ROGER

Guess so

It's starting to

--Who knows?

MIMI

Who knows

BOTH

Who knows where

Who goes there

Who knows

Here goes

Trusting desire -- starting to learn

Walking through fire without a burn

Clinging -- a shoulder, a leap begins

Stinging and older, asleep on pins

So here we go

Now we --

ROGER

Oh no

MIMI

I know

ROGER

Oh no

BOTH

Who knows where -- who goes there

Here goes -- here goes

Here goes -- here goes

Here goes -- here goes

The lights in the museum come back and it transforms back into:

INT. Fantasy Banquet Hall- That moment

All is the same, only now Mimi and Roger are much cuddlier toward one another, and the table that once held the oppressors is now vacant. Joanne enters.

MAUREEN

Are we packed?

JOANNE

Yes, and by next week I want you to be.

MAUREEN

Pookie?

JOANNE

And you should see: They've padlocked your building. And they're rioting on Avenue B. Benny called the cops.

MAUREEN

That fuck!

JOANNE

They don't know what they're doing. The cops are sweeping the lot, but no one's leaving. They're just sitting there, mooing!

Everyone explodes in cheers.

ALL

To dance!

A think skeleton girl in a tutu jumps onto the table.

THE GIRL

No way to make a living, masochism, pain, perfection

Muscle spasms, chiropractors, short careers, eating disorders!

ALL

Film!

Mark jumps up on the table, camera firmly in hand.

MARK

Adventure, tedium, no family, boring locations,

Dark rooms, perfect faces, egos, money, Hollywood and sleaze!

ALL

Music!

Angel jumps up there.

ANGEL

Food of love, emotion, mathematics, isolation,

Rhythm, feeling, power, harmony, and heavy competition!

ALL

Anarchy!

Collins and Maureen jump up there and do a dance that combines the movements of fornicating and homicide.

COLLINS AND MAUREEN

Revolution, justice, screaming for solutions,

Forcing changes, risk, and danger

Making noise and making pleas!

Everyone not on the table yet jumps up there and begin dancing wildly.

ALL

To faggots, lezzies, dykes, cross-dressers, too!

MAUREEN

To me!

COLLINS & ANGEL

To me

ALL

To you, and you and you, you and you

To people living with, living with, living with

Not dying from disease

Let he among us without sin

Be the first to condemn

La vie Boheme

La vie Boheme

La vie Boheme

MARK

Anyone out of the mainstream

Is anyone in the mainstream?

Anyone alive--with a sex drive

OTHERS

La vie boheme

La vie boheme

La vie boheme

MARK

Tear down the wall

Aren't we all?

The opposite of war isn't peace...

It's creation!

ALL

La vie Boheme

EXT. The Street Outside- Night- Mark's Film

We see absolute pandemonium. Rioters with signs, throwing tomatoes and blood, etc. In the center of it all is a burning Christmas tree. Roger and Mimi stand in front of it all, kissing passionately.

MARK (VO)

The riot continues. The Christmas tree goes up in flames. The snow dances. Oblivious,

Mimi and Roger share a small, lovely kiss.

INT. Life Café

It is as it was at the very beginning of the sequence. Our heroes, minus their idols are standing on the tables. They throw their fists in the air as they shout the last line:

ALL

Vive La Vie Bohem!

INT. The Loft

Roger is sitting on the table, holding his guitar. He takes out April's picture and replaces it with one of Mimi. He then begins to tune.

ROGER

I'm writing one great song before I-

He starts to play "Musetta's Waltz" again, but quickly chances it to the opening strains of "Seasons of Love."

ROGER

Five hundred twenty five thousand, six hundred minutes

Five hundred twenty five thousand moments so dear

Five hundred twenty five thousand minutes

How do you measure?

Measure a year?

As he continues to thing, everyone we've seen so far, divided into two groups gather around him and join the song.

ALL

In daylights?

In sunsets?

In midnights?

In cups of coffee?

In inches?

In miles?

In laughter?

In strife?

In

Five hundred twenty five thousand minutes?

How do you measure a year in the life?

How about love?

How about love?

How about love?

Measure in love.

Seasons of love.

Seasons of love.

FEMALE SOLOIST

Five hundred twenty-five thousand six hundred minutes

Five hundred twenty-five thousand

Journeys to plan

Five hundred twenty-five thousand six hundred minutes

How do you measure the life

Of a woman or a man?

MALE SOLOIST

In truths that she learned

Or in times that he cried

In bridges he burned

Or the way that she died?

ALL

It's time now

To sing out

Though the story never ends

Let's

Celebrate

Remember a year

In the life of friends!

Remember the

Love

Remember the

Love

Measure in love

Seasons of love.

FEMALE SOLIST

Measure your life.

Measure your life.

Measure your life in love.

Roger stands and hugs each of his friends individually as we fade out.

We again see burnt bits of film onscreen and the title cars.

A MARK COHEN FILM

Seasons of Love, Moments of Loss

Or

What Did You Earn Today?

EXT. The Street- Night- Mark's Film

We see, through Mark's camera, the padlocked door to Roger and Mark's loft.

MARK (VO)

Pan to the padlocked door. New Year's Rocking Eve. The breaking-back-into-the-

building party...

EXT. Street- Reality

Like two giddy children, Roger and Mimi are kicking at the door.

MIMI

How long 'til next year?

ROGER

Three and a half minutes.

MIMI

I'm giving up my vices

I'm going back -- back to school

Eviction or not

This week's been so hot

That long as I've got you

I know I'll be cool

I couldn't crack the love code, dear

'Til you made the lock on my heart explode

It's gonna be a happy new year

A happy new year

Mark walks up to the two, filming.

MARK

Coast is clear

You're supposed to be working

That's for midnight

Where are they?

There isn't much time

MIMI

Maybe they're dressing

I mean what does one wear that's apropos

For a party -- that's also a crime

Maureen, as if in answer to the question, walks up, dressed as the Catwoman and carrying a party bowl of potato chips with dip in the middle.

MAUREEN

Chips, anyone?

MARK

You can take the girl out of Hicksville, but you can't take Hicksville out of the girl!

MAUREEN

My riot got you on TV. I deserve a royalty.

Mimi playfully waves around a champagne bottle.

MIMI

Be nice you two

Or no god awful champagne

MAUREEN

Don't mind if I do! No luck?

ROGER

Bolted plywood, padlocked with a chain

A total dead end.

MAUREEN

Just like my ex-girlfriend!

She walks up to the payphone. She is standing in precisely the same position Joanne was when Joanne had her phone conversations.

MAUREEN

Honey...?

I know you're there ...

Please pick up the phone

Are you okay?

It's not funny

It's not fair

How can I atone?

Are you okay?

I lose control

But I can learn to behave

Give me one more chance

Let me be your slave!

I'll kiss your Doc Martens

Let me kiss your Doc Martens

Your every wish I will obey

Joanne walks over and taps her on the shoulder.

JOANNE

That might be okay.

Down girl

Heel...stay

I did a bit of research

With my friends at legal aid

Technically, you're squatters

There's hope

But just in case…

She provides a length of rope.

MARK AND JOANNE

Rope!

MARK

We can hoist a line --

JOANNE

To the fire escape --

MARK

And tie off at...

MARK & JOANNE

That bench!

MAUREEN

I can't take them as chums

JOANNE

Start hoisting...wench

As they start to do that, Roger and Mimi start up with some hardcore canoodeling.

ROGER

I think I should be laughing

Yet I forget

Forget how to begin

I'm feeling something inside

And yet I still can't decide

If I should hide

Or make a wide open grin

Last week I wanted just to disappear

My life was dust

But now it just may be a happy new year

A happy new year

Collins and Angel, dressed as drag versions of James Bond and Pussy Galore, approach the group. Angel is carrying a blowtorch.

COLLINS

Bond. James Bond.

ANGEL

And Pussy Galore: In person.

MAUREEN

Pussy, you came prepared!

ANGEL

I was a Boy Scout once. And a Brownie, 'til some little brat got scared!

COLLINS

(to MIMI) Aha! Moneypenny -- my martini!

MIMI

Will bad champagne do?

ROGER

That's shaken -- not stirred

COLLINS

Pussy -- the bolts

COLLINS takes a swig of champagne as ANGEL grabs the blowtorch.

ANGEL

Just say the word!

ANGEL turns on the blowtorch.

MIMI

Two minutes left to execute our plan

COLLINS

Where's everyone else?

ROGER

Playing Spiderman

INT. The Loft- Mark's Film

We see the grainy footage of the answering machine. It is blinking, indicating that there are messages.

MARK (VO)

Ironic close up: tight

On the phone machine's red light

Once the Boho boys are gone

The power mysteriously comes on

INT. Cohen Family Home

We see the wreckage of a family Christmas. Wrapping paper still strewn about, the place half decorated. There is a Happy New Year banner posted above the television. On the television we see the familiar footage of the rioters surrounding the burning Christmas tree with Roger and Mimi kissing in front. Mark's mother, wearing a party hat, is talking on the phone as she looks at the TV.

MARK'S MOTHER

Mark, it's the wicked witch of the west your mother

Happy new year from Scarsdale

We're all impressed that the riot footage

Made the nightly news

Even your father says Mazeltov

Honey -- call him

Love, Mom

INT. Alexi Darling's Office

It's a standard office for someone who produces a successful TV program. The place is filled with merchandise of her show, Buzzline: flags, mugs, t-shirts, stuffed animals, etc. She is watching the same footage that Mark's Mother was on her TV and has a cell phone to her ear.

ALEXI DARLING

Mark Cohen

Alexi Darling from Buzzline

INT. The Loft

Everyone is gathered around the machine, listening to the messages. In the background, we see that the door has been smashed. Everyone reacts when they hear the name of the show.

MARK

Oh, that show's so sleazy!

ALEXI DARLING

Your footage on the riots: A-one

Feature segment -- network -- dealtime

I'm sending you a contract

Ker-ching ker-ching

Marky give us a call 970-4301

Or at home try 863-6754

Or -- my cell phone at 919-763-0090

Or -- you can e-mail me

At Darling Alexi Newscom dot net

Or -- you can page me at --

INT. The Loft

The machine beeps loudly as Alexi is cut off. Mark looks disgusted. Maureen looks overjoyed.

MAUREEN

I think we need an agent!

MARK

We?

JOANNE

That's selling out

MARK

But it's nice to dream

MAUREEN

Yeah -- it's network TV

And it's all thanks to me

MARK

Somehow I think I smell

The whiff of a scheme

JOANNE

Me too

MAUREEN

We can plan another protest

JOANNE

We?!

MAUREEN

This time you can shoot from the start... (to MARK)

You'll direct (to JOANNE)

Starring me!

EXT. The Building

We see the New Year's ball descend.

INT. The Loft

As before. Collins discards the bottle of champagne he has finished just as Angel produces a new one. She opens it as everyone counts down.

ALL

5, 4, 3... Open sesame!!

Happy new year

Happy new year

Happy new...

We see Benny approaches the door and half-knocks on the doorframe, then enters.

BENNY

I see you've beaten me to the punch.

ROGER

How did you know we'd be here?

BENNY

I had a hunch

MARK

You're not mad?

BENNY

I'm here to end this war

It's a shame you went and destroyed the door

MIMI

Why all the sudden the big about face

BENNY

The credit is yours

You made a good case

ROGER

What case?

BENNY

Mimi came to see me

And she had much to say

MIMI

That's not how you put it at all yesterday

BENNY

I couldn't stop thinking about the whole mess

Mark -- you want to get this on film

MARK

I guess!

He picks up the camera.

Close up- Benny- Mark's Film

BENNY

I regret the unlucky circumstances

Of the past seven days.

Back to reality.

ROGER

Circumstance? You padlocked our door!

Back to Benny in the film.

Benny

And it's with great pleasure

On behalf of CyberArts

That I hand you this key

Still in the film, Benny hands Roger a key.

Back to reality. Everyone looks really pissed off.

ANGEL

Golf claps.

Everyone golf claps. Marks taps his camera.

MARK

I have no juice in my battery

BENNY

Reshoot

ROGER

I see -- this is a photo opportunity

MAUREEN

The benevolent god

Ushers the poor artists back to their flat

Were you planning on taking down the barbed wire

From the lot, too?

ROGER

Anything but that!

BENNY

Clearing the lot was a safety concern

We break ground this month

But you can return

MAUREEN

That's why you're here with people you hate

Instead of with Muffy at Muffy's estate

BENNY

I'd honestly rather be with you tonight than in Westport --

ROGER

Spare us old sport, the soundbite

BENNY

Mimi -- since your was are so seductive

MIMI

You came on to me!

BENNY

Persuade him not to be so counterproductive

ROGER

Liar!

BENNY

Why not tell them what you wore to my place?

MIMI

I was on my way to work

BENNY

Black leather and lace!

My desk was a mess

I think I'm still sore

MIMI

Cause I kicked him and told him I wasn't his whore!

BENNY

Does your boyfriend know

Who your last boyfriend was?

ROGER

I'm not her boyfriend

I don't care what she does

ANGEL

People! Is this any way to start a new year?

Have compassion

Benny just lost his cat

BENNY

My dog -- but I appreciate that

ANGEL

My cat had a fall

And I went through hell

BENNY

It's like losing a --

How did you know that she fell?

COLLINS

(Handing Benny a glass of champagne)

Champagne?

BENNY

Don't mind if I do

To dogs!

ALL BUT BENNY

No, Benny -- To you!

ANGEL

Let's make a resolution

MIMI

I'll drink to that

COLLINS

Let's always stay friends

JOANNE

Though we may have our disputes

MAUREEN

This family tree's got deep roots

MARK

Friendship is thicker than blood

ROGER

That depends

MIMI

Depends on trust

ROGER

Depends on true devotion

JOANNE

Depends on love

MARK

(to ROGER)Depends on not denying emotion

ROGER

Perhaps

ALL

It's gonna be a happy new year

ROGER

I guess

ALL

It's gonna be a happy new year

ROGER

You're right

Angel brings Mimi and Roger together.

ANGEL

It's gonna be a happy new year.

Everyone but Mimi and Roger exit.

ROGER & MIMI

I'm sorry.

ROGER

Coming?

MIMI

In a minute -- I'm fine -- go

Roger exits. Moments later, the Man enters.

THE MAN

Well, well, well. What have we here?

The Man sells Mimi a small bag of heroin.

THE MAN

It's gonna be a… a happy New Year!

VARIOUS LOCATIONS- DAY- MARK'S FILM

We see Mark's footage of various Valentine's Day displays around the city.

MARK (VO)

Valentine's Day... And where are they now? Roger's down at Mimi's, where he's been

for almost two months now -- although he keeps talking about selling his guitar and

heading out of town...Still jealous of Benny... God knows where Collins and Angel are...Could be that new Shanty Town near the river or a suite at the Plaza...Maureen

and Joanne are rehearsing...

INT. Maureen and Joanne's Living Room

The place is as we saw it before. Maureen and Joanne are both holding stacks of papers.

JOANNE

I said once more from the top!

MAUREEN

I said no!

INT. The Loft

Mark is at his editing bay, cutting footage.

Close up: Mark's footage of Maureen and Joanne in happier times.

MARK

That is, if they're speaking this week.

INT. Empty Loft- MARK'S FILM

The place is barren. All posters taken down.

MARK (VO)

Me? I'm here. No where.

INT. Maureen and Joanne's Living Room

JOANNE

The line is 'Cyber Arts and its corporate sponsor, Grey Communications, would like

to mitigate the Christmas Eve riots.' What is so difficult...?

MAUREEN

It just doesn't roll off my tongue. I like my version.!

JOANNE

You -- dressed as a ground hog. To protest the ground breaking!

MAUREEN

It's a metaphor!

JOANNE

Well, it's less than brilliant!

MAUREEN

That's it, Ms. Ivy League!

JOANNE

What?!

MAUREEN

Ever since New Year's, I haven't said boo. I let you direct, I didn't pierce my

nipples because it grossed you out! I didn't sta and dance at the Clit Club that

night, 'cause you wanted to go home...

JOANNE

You were flirting with the woman in rubber!

MAUREEN

That's what this is about!? There will always be women in rubber, flirting with

me... Gimme a break.

Every single day

I walk down the street

I hear people say,

"Baby's so sweet"

Ever since puberty

Everybody stares at me

Boys - girls

I can't can't help it baby

So be kind

Don't lose your mind

Just remember that I'm your baby

Take me for what I am

Who I was meant to be

And if you give a damn

Take me baby or leave me

Take me baby or leave me

A tiger in a cage

Can never see the sun

This diva needs her stage

Baby - let's have fun!

You are the one I choose

Folks'd kill to fill your shoes

You love the limelight too, baby

So be mine

Or don't waste my time

Cryin' -- "Honeybear -- are you still my baby?"

Take me for what I am

Who I was meant to be

And if you give a damn

Take me baby or leave me

No way -- can I be what I'm not

But hey -- don't you want your girl hot!

Don't fight -- don't lose your head

Cause every night -- who's in your bed?

Who's in your bed, baby?

(Pouts in JOANNE's direction)

Kiss, Pookie.

JOANNE

It won't work.

I look before I leap

I love margins and discipline

I make lists in my sleep

Baby what's my sin?

Never quit -- I follow through

I hate mess -- but I love you

What to do

With my impromptu baby?

So be wise

This girl satisfies

You've got a prize

But don't compromise

You're one lucky baby

Take me for what I am

MAUREEN

A control freak

JOANNE

Who I was meant to be

MAUREEN

A snob -- yet over-attentive

JOANNE

And if you give a damn

MAUREEN

A lovable, droll geek

JOANNE

Take me baby or leave me

MAUREEN

And anal retentive

BOTH

That's it!

JOANNE

The straw that breaks my back

BOTH

I quit

JOANNE

Unless you take it back

BOTH

Women

MAUREEN

What is it about them?

BOTH

Can't live --

With them --

Or without them!

Take me for what I am

Who I was meant to be

And if you give a damn

Take me baby or leave me

Take me baby

Or leave me

Guess I'm leavin'

I'm gone!

Maureen throws down her papers, picks up a suitcase and storms out.

INT. Mimi's Apartment

Roger is sitting on the double bed. It is clear from the presence of his posters on the wall that he has moved in here. He is working on the song he started earlier.

ROGER

In diapers -- report cards

In spoke wheels -- in speeding tickets

In contracts -- dollars

In funerals -- in births

In -- five hundred twenty-five thousand six hundred minutes

How do you figure

A last year on earth?

Figure in love

Figure in love

Figure in love

Measure in love

Seasons of love

Seasons of love

Mimi enters.

ROGER

Where were you?

MIMI

I'm sorry I'm late...

ROGER

I know. You lost your keys. No, you went for a walk; you had to help your mother.

(As he picks up the guitar) And how's Benny? I'm gonna work upstairs tonight.

MIMI

Wait...

I should tell you

I should ...

Never mind...

ROGER

Happy Spring

Roger exits.

Mimi takes out a bag of heroin and throws it across the room, where it explodes, spreading dust. She throws herself on the bed, crying.

INT. The Loft

Roger enters. We see him converse with Mark, but do not hear it, as we are hearing the song.

MIMI (VO)

Without you

The ground thaws

The rain falls

The grass grows

Without you

The seeds root

The flowers bloom

The children play

The stars gleam

The poets dream

The eagles fly

Without you

The earth turns

The sun burns

But I die

Without you

Without you

The breeze warms

The girl smiles

The cloud moves

Without you

The tides change

The boys run

The oceans crash

The crowds roar

The days soar

The babies cry

Without you

The moon glows

The river flows

But I die

Without you

EXT. Street- Night

Mark and Roger are walking toward a motel.

EXT. MOTEL- Night

Maureen, standing on the balcony, waves to the boys, who head up the stairs.

INT. Motel

Maureen, Roger, and Mark shares drinks, pot and laughs.

Through these three shots, the song continues.

ROGER (VO)

The world revives

MIMI (VO)

Colors renew

BOTH (VO)

But I know blue

Only blue

Lonely blue

Within me, blue

Without you

MIMI (VO)

Without you

The hand gropes

The ear hears

The pulse beats

ROGER (VO)

Without you

The eyes gaze

The legs walk

The lungs breathe

BOTH (VO)

The mind churns

The heart yearns

The tears dry

Without you

Life goes on

But I'm gone

Cause I die

ROGER (VO)

Without you

MIMI (VO)

Without you

ROGER

Without you

BOTH (VO)

Without you

Mimi enters.

ROGER

Mimi-

MIMI

Baby, we gotta put our shit aside tonight, we gotta get to the hospital right now.

MARK

What's going on?

MIMI

I just got a call from Collins-

INT. Hospital

Collins is carrying a very sick Angel to the receptions desk.

RECEPTIONIST

May I help you sir?

COLLINS

Please… she's very sick. She needs a bed. Please.

RECEPTIONIST

We'll see what we can do, sir. Please have a seat in the waiting room.

INT. Waiting Room

Angel is lying on Collin's lap, very, very sick. She speaks in a weak, whispering voice.

ANGEL

Baby…

COLLINS

Yes?

ANGEL

I love you. I want you to know that. You've meant more to me than anyone else ever has.

Collins is fighting back tears.

COLLINS

You… I love you so much.

ANGEL

That's wonderful, my dear. Go love some more.

COLLINS

Don't say that. You're… you're going to be just fine.

ANGEL

I'm at peace, darling. I just wanted you to know how deeply I care for you before I say farewell.

COLLINS

No…

ANGEL

Goodbye, love.

INT. Alexi Darling's Office

As before, only now there are a group of Yes Men gathered around her grinning like idiots at the riot footage. Alexi is, once again, on her cell phone.

ALEXI DARLING

Mark Cohen

Labor Day weekend

In East Hampton

On the beach

Just saw Alec Baldwin

Told him you say hi

Just kidding

We still need directors

You still need money

You know you need money

Pick up the phone

Don't be afraid of ker-ching ker-ching

Marky -- sell us your soul

Just kidding

We're waiting...

INT. Hospital Waiting Room

Collins is cradling Angel and weeping. An old man is wheeled by with a heart monitor attached to him. The old man flatlines. The sound of his flatlining heart monitor becomes the opening notes of "Contact" as Collins looks up to find that his waiting room seat has become a red, heart shaped bed with persons of all sexes and genders writhing around on it. Angel has disappeared. Collins looks around to find himself in…

INT. Fantasy Gay Club

It is your standard gay dance club. Dimly lit with flashing lights. On the dance floor half naked men and drag queens dance together, acting out every sexual act imaginable, and a few that aren't. Dancing in the crowd are our couples: Mimi and Roger getting really nasty, Joanne and Maureen getting even nastier and Mark, of course, filming. April can be seen as well, dancing with The Man. Benny is dancing with Allison, who we've seen in the footage of the groundbreaking. Above the dance floor is a stage. The curtain is closed and a sign on it reads:

FAREWELL PERFORMANCE TONITE

GROUP A (ROGER, MARK, JOANNE, BENNY)

Hot-hot-hot-sweat-sweet

Wet-wet-wet-red-heat

Hot-hot-hot-sweat-sweet

Wet-wet-wet-red-heat

Please don't stop please

Please don't stop stop

Stop stop stop don't

Please please please please

Hot-hot-hot-sweat-sweet

Wet-wet-wet-red-heat

Sticky-licky-trickle-tickle

Steamy-creamy-stroking-soaking

GROUP B (MIMI, THE MAN, MAUREEN, APRIL)

Hot-hot-hot-sweat-sweet

Wet-wet-wet-red-heat

THE MAN

Touch!

MAUREEN

Taste!

MIMI

Deep!

THE MAN

Dark!

MAUREEN

Kiss!

THE MAN

Beg!

MIMI

Slap!

MIMI, MAUREEN & THE MAN

Fear!

THE MAN

Thick!

THE MAN, MIMI & MAUREEN

Red, red

Red, red

Red, red -- please

MAUREEN

Harder

APRIL

Faster

MAUREEN

Wetter

MIMI

Bastard!

THE MAN

You whore!

MAUREEN

You cannibal!

MIMI & APRIL

More!

MAUREEN

You animal!

MAUREEN, THE MAN & MIMI

Fluid no fluid no contact yes

No contact

ALL

Fire fire burn--burn yes!

No latex rubber rubber

Fire latex rubber latex bummer

Lover bummer

Onstage, a hand reaches out and pulls away the sign. The curtain opens to reveal Angel, and she has never looked better. If Marilyn Monroe, Jane Fonda and Britney Spears somehow produced a daughter, she would look about a third as good as Angel does at this moment. Everyone stops dancing and looks at her, transfixed. As she is singing her solo, Collins, shirtless, gets up onstage and begins writhing with her.

ANGEL

Take me

Take me

Today for you

Tomorrow for me

Today me

Tomorrow you

Tomorrow you

Love

You

Love you

I love

You I love

You!

Take me

Take me

I love you

Collins trips and falls off the stage, down through and abyss. As he is falling he hears echoing voices:

ROGER'S VOICE

Um

JOANNE'S VOICE

Wait

MIMI'S VOICE

Slipped

THE MAN'S VOICE

Shit

JOANNE'S VOICE

Ow!

ROGER'S VOICE

Where'd it go?

MIMI'S VOICE

Safe

THE MAN'S VOICE

Damn

MAUREEN'S VOICE

I think I missed

Don't get pissed

ALL

It was bad for me -- was it bad for you?

JOANNE

It's over

MAUREEN

It's over

ROGER

It's over

MIMI

It's over

INT. Hospital Reception Area

Collins is right in the receptionist's face

COLLINS

It's over.

EXT. Suburban neighborhood-Day

The entire street is decked out for Halloween. Mark is talking on his cell phone.

MARK

Hi. It's Mark Cohen. Is Alexi there?…No need to bother her. Just tell her I'm running a little late for our appointment… I have my friend's… Yes, I'm still coming... Yes, I signed

the contract... Thanks...

He hangs up and begins walking as he sings. The sequence parallels the one in which Collins and Angel walked around various upbeat Christmas displays as Mark walks around the most macabre Halloween displays ever seen. Plastic bodies, fake blood, crucified witches, etc.

MARK

How did we get here?

How the hell...

Pan left -- close on the steeple of the church

How did I get here?

How the hell...

Christmas

Christmas Eve -- last year

How could a night so frozen be so scalding hot?

How can a morning this mild be so raw?

Why are entire years strewn

On the cutting room floor of memory

When single frames from one magic night

Forever flicker in close-up

On the 3D Imax of my mind

That's poetic

That's pathetic

Why did Mimi knock on Roger's door

And Collins choose that phone booth

Back where Angel set up his drums

Why did Maureen's equipment break down

Why am I the witness

And when I capture it on film

Will it mean that it's the end

And I'm alone

As he ends the song, he jogs up to:

EXT. Real Cemetery- Day

Not macabre at all, contrasting with the fantasy displays glimpsed earlier. Our heroes are all dressed in black, gathered around Angel's coffin. Mark walks over to the group.

MIMI

Angel was one of my closest friends. It's right that it's Halloween, because it

was her favorite holiday. I knew we'd hit it off from the moment we met. That skin

head was bothering her, and she said she was more of a man than he'd ever be, and

more of a woman than he'd ever get...

MARK

...and then there was that time that he walked up to this group of tourists... and,

they were petrified, because, a) they were obviously lost, and b) they had probably

never spoken to a drag queen before in their lives...and he...she just offered to

escort them out of Alphabet City, and then she let them take a picture with her,

and then she said she'd help 'em find the Circle Line...

MAUREEN

...so much more original then any of us...you'd find an old table cloth on the

street and make a dress...and next year, sure enough -- they'd be mass producing

them at the Gap. You always said how lucky you were that we were all friends. But

it was us, baby, who were the lucky ones.

COLLINS

Live in my house

I'll be your shelter

Just pay me back

With one thousand kisses

Be my lover

And I'll cover you

Open your door -- I'll be your tenant

Don't got much baggage to lay at your feet

But sweet kisses I've got to spare

I'll be there -- I'll cover you

I think they meant it

When they said you can't buy love

Now I know you can rent it

A new lease you were, my love, on life

All my life

I've longed to discover

Something as true

As this is

(The following is sung simultaneously.)

JOANNE & SOLOIST

So with a thousand sweet kisses

I'll cover you with a thousand sweet kisses

I'll cover you with a thousand sweet kisses

I'll cover you iwht a thousand sweet kisses

I'll cover you

COLLINS

If you're cold and you're lonely

You've got one nickel only

When you're worn out and tired

When your heart has expired

COMPANY

Five hundred twenty-five thousand six hundred minutes

Five hundred twenty-five thousand six hundred moments so dear

Five hundred twenty-five thousand six hundred minutes

Five hundred twenty-five thousand six hundred -- measure a year

Oh lover I'll cover you

Oh lover I'll cover you

COLLINS & COMPANY

Oh lover

I'll cover you

Oh lover

COLLINS

I'll cover you

COMPANY

Five hundred twenty-five thousand six hundred minutes

Five hundred twenty-five thousand seasons of love

COLLINS

I'll cover you

ROGER

I can't take it. I've gotta get out of here.

He walks away. Mimi follows him. Benny follows her. Everyone else follows him.

MIMI

It's true you sold your guitar and bought a car?

ROGER

It's true -- I'm leaving now for Santa Fe

It's true you're with this yuppie scum?

BENNY

You said you'd never speak to him again

MIMI

Not now

MAUREEN

Who said that you have any say

In who she says things to at all?

ROGER

Yeah!

JOANNE

Who said that you should

Stick your nose in other people's ...

MAUREEN

Who said I was talking to you?

JOANNE

We used to have this fight each night

MARK

Calm down

JOANNE

She'd never admit I existed

MARK

Everyone please!

MIMI

He was the same way -- he was always

"Run away -- hit the road

Don't commit" -- you're full of shit

JOANNE

She's in denial

MIMI

He's in denial

JOANNE

Didn't give an inch

When I gave a mile

MARK

Come on

MIMI

I gave a mile

ROGER

Gave a mile to who?

MARK & BENNY

Come on guys chill!

MIMI & JOANNE

I'd be happy to die for a taste of what Angel had

Someone to live for -- unafraid to say I love you

ROGER

All your words are nice Mimi

But love's not a three way street

You'll never share real love

Until you love yourself -- I should know

Collins glares at everyone, and they fall silent.

COLLINS

You all said you'd be cool today

So please -- for my sake...

I can't believe he's gone

(to ROGER) I can't believe you're going

I can't believe this family must die

Angel helped us believe in love

I can't believe you disagree

ALL

I can't believe this is goodbye

EXT. Church Yard

Benny, Mark and Collins sit on a bench beside a concrete statue of an Angel, smoking cigarettes.

BENNY

So, I hear you signed the contract for that news show.

MARK

Yeah.

COLLINS

You okay with that?

MARK

Eh, fuck it. Even Da Vinci sold out when the Church wouldn't publish his shit.

COLLINS

That's a way to put it.

The PRIEST steps outside.

PRIEST

Thomas B. Collins…

Collins follows him inside the church.

BENNY

Excuse me a minute.

MARK

Sure.

Benny walks away. Roger approaches and sits beside Mark.

ROGER

Hey.

EXT. Another Grave Other Than Angel's

Joanne and Maureen kiss passionately.

JOANNE

I missed you...

MAUREEN

I missed your smell...

JOANNE

I missed your mouth...Your...

They kiss, but MAUREEN pulls away.

MAUREEN

Ow!

JOANNE

What?

MAUREEN

Nothing, Pookie.

JOANNE

No, baby, you said ow...What?

MAUREEN

Well, you bit my tongue...

JOANNE

No, I didn't.

MAUREEN

You did -- I'm bleeding.

JOANNE

No, it isn't...

MAUREEN

I think I should know

JOANNE

Let me see--

MAUREEN

You don't believe me!

JOANNE

I was only trying to...

MAUREEN

I love you, you cunt.

JOANNE

I love you too, you twat!

They cuddle.

EXT. Church Yard

Roger and Mark sit awkwardly.

MARK

I hear there are great restaurants out west

ROGER

Some of the best. How could she?

MARK

How could you let her go?

ROGER

You just don't know ... How could we lose Angel?

MARK

Maybe you'll see why when you stop escaping your pain

At least now if you try -- Angel's death won't be in vain

ROGER

His death is in vain

MARK

Are you insane?

There so much to care about

There's me -- there's Mimi

ROGER

Mimi's got her baggage, too

MARK

So do you

ROGER

Who are you to tell me what I know, what to do

MARK

A friend

ROGER

But who, Mark, are you?

"Mark has got his work"

They say "Mark lives for his work"

And "Mark's in love with his work"

Mark hides in his work

MARK

But from what?

ROGER

From facing your failure, facing your loneliness

Facing the fact you live a lie

Yes, you live a lie -- tell you why

You're always preaching not to be numb

When that's how you thrive

You pretend to create and observe

When you really detach from feeling alive

MARK

Perhaps it's because I'm the one of us to survive

ROGER

Poor baby

MARK

Mimi still loves Roger

Is Roger really jealous

Or afraid that Mimi's weak

ROGER

Mimi did look pale

MARK

Mimi's gotten thin

Mimi's running out of time

Roger's running out the door

ROGER

No more! Oh no!

I've gotta go

Roger gets up to leave. Mark jumps up and grabs him.

MARK

Hey, for somebody who's always been let down

Who's heading out of town?

ROGER

For someone who longs for a community of his own,

Who's with his camera, alone?

Roger breaks away from Mark and starts to storm away. He softens a bit and turns back.

ROGER

I'll call

I hate the fall

As he begins to walk away he sees Mimi standing beneath a tree.

ROGER

You heard?

MIMI

Every word.

You don't want baggage without lifetime guarantees

You don't want to watch me die

I just came to say

Goodbye, love

Goodbye, love

Came to say goodbye, love, goodbye

They sing simultaneously.

MIMI

Just came to say

Goodbye love

Goodbye love

Goodbye love

Goodbye!

ROGER

Glory

One blaze of

Glory

Have to find...

Roger runs off. Benny approaches and hands Mimi a pack of cigarettes. As he does, he tries to physically comfort her.

MIMI

Please don't touch me

Understand

I'm scared

I need to go away

MARK

I know a place -- a clinic

BENNY

A rehab?

MIMI

Maybe -- could you?

BENNY

I'll pay

MIMI

Goodbye love

Goodbye love

Came to say goodbye, love, goodbye

Just came to say

Goodbye love

Goodbye love

Goodbye love

Hello disease

The priest and Collins come out of the church, as if in a fight.

PRIEST

Off the premises, we give no handouts here!

MARK

What happened to Rest In Peace?

PRIEST

Off the premises, queer!

COLLINS

That's no way to send a boy to meet his maker!

They had to know we couldn't pay the undertaker.

Benny turns to Collins.

BENNY

Don't worry 'bout him.

Benny walks over to the priest, handing him a wad of money.

BENNY

I'll pay for it.

Satisfied, the priest goes back in the church.

MARK

Must be nice to have money.

ALL

No shit!

Collins turns to Benny.

COLLINS

I think it's only fair to tell you, you just paid for the funeral of the person who killed your dog.

BENNY

I know... I always hated that dog...

We've paid him off, let's go get drunk.

MARK

I can't... I have a meeting.

BENNY & COLLINS

Punk! Let's go.

Mimi, Collins and Benny walk away, leaving Mark standing by himself. He kisses the Angel statue on the forehead.

The screen suddenly explodes into:

BUZZLINE GRAPHIC

Bright, flashing text shows the word BUZZLINE 10,000 feet high on the screen.

ANNOUNCER (VO)

You're watching Buzzline, bitch!

EXT. Santa Fe Street Corner- News Footage

Roger is sitting on the street corner, playing music while people drop change in his guitar case.

ANNOUNCER (VO)

Tonight, the pain and heartache of being homeless in good ol' New Mèxico. We'll talk to a real live street musician about how it feels to be a failure at your craft.

INT. Mark's Dressing Room- News Footage

Mark is surrounded by makeup people, powdering and poofing him.

ANNOUNCER (VO)

Plus, we'll meet Buzzline's kick-ass new correspondent Mark Cohen. He'll tell us how it feels to be a sellout and completely abandon what you once loved for a few goddamned dollars.

Mark waves the makeup people away.

MARK

If I threw my body out the window,

Brain all splattered guts all steaming in the snow,

I wouldn't have to finish shooting films that no one wants to show!

RENT!

EXT. Santa Fe Street Corner- News Footage

As before.

ROGER

If I studied something that paid a salary

wouldn't have to do the shit I do for cash

My guts all steaming, fuck this dreaming,

speed, metal rocks, songs for the trash

Back to Mark.

MARK

The wheels aren't turning.

ROGER

It's worthy of burning!

How now can I pay?

How now can I pay?

How now can I pay?

Last year's rent!

The BUZZLINE GRAPHIC again flashes by.

ANNOUNCER (VO)

Yeah, Buzzline, sucka!

INT. News Studio

Mark, dressed as a news correspondent, is sitting at a news desk. Alexi is next to him.

ALEXI

Well, Mark, that certainly was a doozey of a report!

MARK

Thanks, Alexi! Coming up next, vampire welfare queens who are compulsive bowlers: all the week on…

MARK AND ALEXI

Buzzline, bitch!

DIRECTOR (OC)

We're clear!

ALEXI

That was great, Mark. Really.

MARK

Thanks.

Alexi gets up and leaves.

MARK

Oh my god, what am I doing?

He gets up and begins singing. As he does so, he walks through halls where various people try to hand him things that he blows off. This cross cuts with Roger still in Santa Fe, doing various odd jobs: as he sings his section:

Fixing a pipe

Sitting a motel room counting money, clearly having just whored himself

Peeling chickens in a factory

MARK

Don't breathe too deep

Don't think all day

Dive into work

Drive the other way

That drip of hurt

That pint of shame

Goes away

Just play the game

You're living in America

At the end of the millennium

You're living in America

Leave your conscience at the tone

And when you're living in America

At the end of the millennium

You're what you own

ROGER

The filmmaker cannot see

MARK

And the songwriter cannot hear

ROGER

Yet I see Mimi everywhere

MARK

Angel's voice is in my ear

ROGER

Just tighten those shoulders

MARK

Just clench your jaw till you frown

ROGER

Just don't let go

BOTH

Or you may drown

You're living in America

At the end of the millennium

You're living in America

Where it's like the Twilight Zone

And when you're living in America

At the end of the millennium

You're what you own

So I own not a notion

I escape and ape content

I don't own emotion -- I rent

MARK

What was it about that night

ROGER

What was it about that night

BOTH

Connection -- in an isolating age

MARK

For once the shadows gave way to light

ROGER

For once the shadows gave way to light

BOTH

For once I didn't disengage

MARK

Angel -- I hear you -- I hear it

I see it -- I see it

My film!

ROGER

Mimi I see you -- I see it

I hear it -- I hear it

My song!

By now, Mark has reached Alexi's office, into which he storms.

MARK

Alexi, call me a hypocrite, I need to finish my own film! I quit!

ROGER

One song--glory

Mimi

Your eyes...

BOTH

Dying in America

At the end of the millennium

We're dying in America

To come into our own

And when you're dying in America

At the end of the millennium

You're not alone

I'm not alone

I'm not alone

EXT. Buzzline Studios- Day

Roger is sitting on the front steps, smoking a cigarette. Mark walks out carrying a bag of his possessions.

MARK

Hey.

ROGER

Hey.

MARK

What are you doing here?

ROGER

Home for Thanksgiving. And thereafter.

Mark sets his box down and they embrace.

INT. Roger's Mother's Kitchen

Close up on kitchen counter, piled high with cigarette butts and post cards.

We then see ROGER'S MOTHER standing above the stack. She wears a pink robe and tons of curlers. She has a fairly old phone wrapped around herself and the receiver tucked under her head, as she is reading a post card with one hand and tapping cigarette ash into the pile with the other.

ROGER'S MOTHER

Roger, this is your mother

Roger, honey, I don't get these postcards

"Moving to Santa Fe"

"Back in New York

Starting a rock band"

Roger, where are you? -- Please call

INT. Mimi's Mother's Home

MIMI'S MOTHER is on the phone, standing under a massive statue of Jesus.

MIMI'S MOTHER

Mimi, chica, donde estas?

Tu mama esta llamando

Donde estas Mimi – Call

INT. Limo

We see JOANNE'S FATHER talking into a car phone.

JOANNE'S FATHER

Kitten, wherever you are, call.

INT. Cohen Family Dining Room

In the background, people wait for dinner to begin. The kids fling cranberry sauce at each other. Mark's mother is on the phone in the foreground.

MARK'S MOTHER

Mark -- are you there -- are you there

I don't know if he's there

We're all here wishing you were here too

Where are you Mark are you there are you where are you

Mark -- are you there -- are you there

I don't know if -- Please call your mother

The screen splits, allowing space for each of these scenes as the mothers continue to try to reach their children.

INT. Loft

Outside, homeless can be heard caroling. Inside, Mark is setting up for the screening of his film.

HOMELESS CAROLERS (OS)

Christmas bells are ringing

Christmas bells are ringing

Christmas bells are ringing

How time flies

When compassion dies

No stockings

No candy canes

No gingerbread

No safety net

No loose change

No change no

HOMELESS SOLIST (OS)

"Santy Claus is coming"

HOMELESS CAROLERS (OS)

Cause Santy Claus ain't coming

No room at the Holiday Inn -- again

Well, maybe next year --

Or -- when

Mark looks giddy as he excitedly sets up.

MARK

December 24th, ten p.m. Eastern standard time

I can't believe a year went by so fast

Time to see what we have time to see

Turn the projector on

TITLE CARD: Today 4 U Proof Positive

INT. Loft- Mark's Film

Roger tuning his guitar, flipping off the camera.

MARK (VO)

First shot Roger

With the fender guitar he just got out of hock

When he sold the car

That took him away and back

INT. Loft- Reality

Roger enters with his guitar.

ROGER

I found my song.

MARK

Now if he could just find Mimi.

ROGER

I tried. You know I tried.

INT. Loft- Mark's Film

Mark is lying on the floor.

MARK (VO)

Fade in on Mark, who's still in the dark.

ROGER (VO)

But he's got great footage!

Various clips from Mark's film appear rapidly.

MARK (VO)

Which he's cut together.

ROGER (VO)

To screen tonight.

INT. Country Club- Mark's Film

Benny and a group of yuppies are smoking cigars, cuddling with their women, etc.

MARK (VO)

In honor of Benny's wife.

ROGER (VO)

Muffy.

MARK (VO)

Allison. Pulling Benny from the East Village location.

The film goes black.

ROGER (VO)

Then again, maybe we won't screen tonight.

INT. Loft

The two are staring, stunned, at the broken projector.

MARK

I wonder how Allison found out about Mimi.

ROGER

Maybe a little bird told her.

Collins climbs in through the window, holding a wad of money.

COLLINS

Or an Angel. I had a little hunch that you could use a little flow

ROGER

Tutoring again?

COLLINS

Negative

MARK

Back at N.Y.U.?

COLLINS

No, no, no

I rewired the ATM at the food emporium

To provide an honorarium to anyone with the code

ROGER & MARK

The code --

Well...?

COLLINS

A-N-G-E-L

Yet Robin Hooding isn't the solution

The powers that be must be undermined where they dwell

In a small, exclusive gourmet institution

Where we overcharge the wealthy clientele

ALL THREE

Let's open up a restaurant in Santa Fe

With a private corner banquette in the back

COLLINS

We'll make it yet, we'll somehow get to Santa Fe

ROGER

But you'd miss New York before you could unpack

ALL

Ohh—

Maureen is heard yelling off screen.

MAUREEN (OS)

Mark! Roger! Anyone! Help!

MARK

Maureen?

MAUREEN (OS)

It's Mimi! I can't get her up the stairs!

ROGER

No!

MARK

Oh my god!

They run out and quickly return with Maureen and Joanne, carrying Mimi.

MAUREEN

MAUREEN

She was huddled in the park in the dark

And she was freezing

And begged to come here

ROGER

Over here

Oh, God --

They lay her down carefully on the table.

MIMI

Got a light -- I know you -- you're shivering...

JOANNE

She's been living on the street

ROGER

We need some heat

MIMI

I'm shivering

MARK

We can buy some wood and something to eat

COLLINS

I'm afraid she needs more than heat

MIMI

I heard that

MAUREEN

Collins will call for a doctor, honey

MIMI

Don't waste your money on Mimi, me, me

Collins picks up the phone and calls.

COLLINS

Hello -- 911?

I'm on hold!

MIMI

Cold...cold... would you light my candle?

ROGER

Yes -- we'll -- oh God -- find a candle

MIMI

I should tell you

I should tell you

ROGER

I should tell you

I should tell you

MIMI

I should tell you

Benny wasn't any--

ROGER

Shhh--I know

I should tell you why I left

It wasn't cause I didn't --

MIMI

I know

I should tell you

ROGER

I should tell you

MIMI (whispering)

I should tell you

I love you—

MIMI fades

ROGER

Who do you think you are?

Leaving me alone with my guitar

Hold on there's something you should hear

It isn't much but it took all year

MIMI stirs and ROGER begins playing acoustic guitar at her bedside.

ROGER

Your eyes

As we said our goodbyes

Can't get them out of my mind

And I find I can't hide

From your eyes

The ones that took me by surprise

The night you came into my life

Where there's moonlight I see your eyes

(Band takes over)

How'd I let you slip away

When I'm longing so to hold you

Now I'd die for one more day

'Cause there's something I should have told you

Yes there's something I should have told you

When I looked into your eyes

Why does distance make us wise?

You were the song all along

And before this song dies

I should tell you I should tell you

I have always loved you

You can see it in my eyes

(We hear Musetta's Theme, played correctly and passionately. MIMI's head falls

to the side and her arm drops limply off the edge of the table.)

Mimi!

Close on Mimi's hand. Suddenly, it twitches.

MIMI

I jumped over the moon!!

ROGER

What?

MIMI

A leap of mooooooooooooooo--

JOANNE

She's back!

MIMI

I was in a tunnel. Heading for this warm, white light...

MAUREEN

Oh my god!

MIMI

And I swear Angel was there -- and she looked GOOD! And she said, "Turn around,

girlfriend, and listen to that boy's song..."

COLLINS

She's drenched

MAUREEN

Her fever's breaking

MARK

There is no future -- there is no past

ROGER

Thank God this moment's not the last

MIMI & ROGER

There's only us

There's only this

Forget regret or life is yours to miss

ALL

No other road no other way

No day but today

As they did for Seasons of Love, everyone we've seen gathers.

WOMEN

I can't control

My destiny

I trust my soul

My only goal is just to be

MEN

Will I lose my dignity?

Will someone care?

Will I wake tomorrow

From this nightmare?

Mark clicks on the projector and we see his cut together footage, ending on the now-famous shot of the riot.

WOMEN

Without you

The hand gropes

The ear hears

The pulse beats

Life goes on

But I'm gone

'Cause I die

Without you

I die without you

I die without you

I die without you

MEN

There's only now

There's only here

Give in to love

Or live in fear

No other path

No other way

No day but today

No day but today

No day but today

No day but today

ALL

No day but today

The film ends. We see end cards. The very last thing we see is a shot of Angel blowing a kiss to the camera.


End file.
